中国文化创意产业集群发展研究
|
摘要
随着科学技术的快速发展和消费层次的不断提升，以“知识”和“文化”为主的“新经济”形式不断涌现，“个性服务”和“消费经济”特征日益凸显，依托新技术和新模式的现代服务业获得高速发展，文化创意产业由此产生并随之快速成长。文化创意产业是以文化为基础、以创造为核心、以思想为动力，通过利用高科技手段对文化资源进行深度整合与提升，通过知识产权的不断开发和广泛运用，生产出高附加值产品和服务的新兴产业。从产业的涵盖范围来看，文化创意产业既包括体现传统文化方面的图书馆、文化文物、艺术表演、书刊出版、广播电视和录音录像制品等文化领域，同时也包括体现现代创意方面的信息服务、文体娱乐、电影、知识产权和新媒体等新兴领域。
目前，文化创意产业的迅速成长已经成为发达国家和地区经济发展的重要特征，以创新、创造、创意为核心的文化创意产业的发展规模和水平，正在逐渐成为一个国家或地区整体竞争力高低的重要标志之一。从国际上来看，英国、美国、日本等国家都把文化创意产业确立为本国重点发展的支柱产业，并通过制定相关的政策措施以及采取大量的有效手段来积极推动产业规模不断壮大、集群水平不断提升。因为产业集群能够实现要素资源的优化配置、利用效率的显著提高和竞争实力的不断增强，这种产业组织形式与文化创意产业高度的知识溢出效应相得益彰，在产业自身快速发展的同时能够显著带动其他关联产业协调发展。近年来，我国政府也高度重视文化创意产业并大力支持其快速扩张、集群发展，特别是在十八大报告中被提到了新的高度，确立文化产业在2020年将成为国民经济支柱性产业。可以预见，伴随知识经济的快速发展和信息技术的不断进步，文化创意产业正逐步成为新经济时代的核心产业，蕴藏着巨大的潜在价值，将成为全球经济发展的新动力。同时，文化创意产业将成为下一阶段推动我国经济持续稳定增长的主力军，以集群为主要发展模式的文化创意产业，将会对我国经济实现新一轮增长以及经济发展模式的根本转变起到巨大的推动作用。
从理论研究情况来看，虽然不少学者都针对文化创意产业进行了研究，但其研究基础、研究方法以及研究角度等方面都还有待进一步拓展，从集群视角对文化创意产业进行综合分析的成果还较少。从现实发展情况来看，分析文化创意产业集群的形成与发展，研究文化创意产业集群对产业竞争力和地区经济发展的影响，同时注重探讨支持文化创意产业实现持久发展的融资模式选择和人才培养机制，对于提升我国文化创意产业的竞争力水平、推动我国文化创意产业的健康成长，乃至实现国民经济的可持续发展都具有重要意义。
基于理论研究上的不足和现实发展的需要，本文对我国文化创意产业集群发展进行了研究，通过综述已有国内外文献，阐述了研究的经济学理论基础，对国内外文化创意产业的发展现状进行客观总结并提炼出我国可以借鉴的经验，介绍了我国文化创意产业的集聚发展现状，分析了集群效应。通过构建指标体系，利用因子分析方法客观评价了基于集群的现实竞争力水平，发现了竞争力影响因素，同时对基于集群的文化创意产业投入产出效率进行评价，找到效率改进的空间。最后，我们还对影响文化创意产业未来发展的支撑体系进行分析，从资金和人才两大方面深入探讨并提出融资模式和人才培养的政策选择。
全文共分为8章，具体内容为：
第1章是绪论。首先，本章介绍了全文的选题背景、问题提出的依据与研究意义。随后，对文化创意产业及相关因素的国内外研究文献进行了较为详细的综述。然后，介绍了全文的主要内容与研究框架，描绘了全文的研究脉络。本章第4节介绍了全文所使用的研究方法，主要包括文献研究法、案例分析法和实证分析法。最后，介绍了本文的创新与不足。
第2章是基本概念与理论基础。本章首先介绍了文化创意产业的概念、特点和作用。从内涵来看，文化创意产业是以文化为基础、以创造为核心、以思想为动力，利用高科技手段对文化资源进行深度整合，通过知识产权的合理开发和广泛运用，生产出高附加值产品和服务的新兴产业。从特点来看，文化创意产业具有知识集聚性、价值增值性、深度融合性、与时俱进性四个特点。从作用来看，文化创意产业具有三大作用：一是促进经济结构调整，提升国家综合竞争优势；二是促进地区经济发展，提升地区经济竞争力；三是促进三次产业增长，提升行业之间融合发展水平。随后，确定了全文研究的理论基础，即产业组织理论、产业集群理论以及产业竞争力理论。
第3章是国内外文化创意产业发展现状。由于英国是最早提出文化创意产业并制定相应政策进行大力扶持的国家，因此本章首先选取了英国作为分析对象。此外，美国、澳大利亚等国家也针对文化创意产业出台了相关政策加以引导，这两个国家也是本文的分析对象。本章随后介绍了全国及部分地区文化创意产业的发展现状，并结合国外的发展经验总结提炼出对我国的启示。从英国、美国和澳大利亚等国家发展文化创意产业的经验来看，结合我国的实际情况，对我国文化创意产业的发展主要有四点启示：一是政府应大力支持文化创意产业的发展；二是应大力扶持创意企业，积极建立领军式企业；三是加大知识产权的保护力度；四是着力培养创意专业人才。
第4章是文化创意产业集群发展分析。本章首先介绍了文化创意产业集群的内涵、分类以及特点，从内涵来看，文化创意产业集群就是在文化创意产业的各个领域中，由众多独立又相互关联的文化创意企业以及相关支撑机构，依据专业化分工和协作关系建立起来并在一定区域集聚而成的产业组织，它包括了文化创意产业链上的所有上、下游企业。从分类来看，按照集群的形成原因，可以分为文化式集群和区位式集群；按照集群的结构可以分为轮轴式集群和大饼式集群。从特点来看，文化创意产业集群的特点主要有三个：一是文化创意产业集群发展具有区位性和根植性，二是文化创意产业集群生产具有关联性和科技性，三是文化创意产业集群创造具有创新性和风险性。随后我们分析了文化创意产业集群的形成机制，从动力机制和发展条件两个方面展开。从形成机制来看，文化创意产业集群的动力机制主要有降低交易成本的动力机制、获取竞争优势的动力机制、扩大资本存量的动力机制。从发展条件来看，文化创意产业集群的发展条件主要包括消费需求、生产资源、支撑产业和环境因素四个方面。第3节是文化创意产业集群的发展模式分析，从国际比较和我国实践两个方面进行分析，本章最后对文化创意产业集聚的空间效应进行了分析，提出了具有高度知识密集、高度产业融合等鲜明特点的文化创意产业集群具有三个效应，即外部经济效应、协同发展效应和网络创新效应。
第5章是文化创意产业集聚水平及其对经济增长的影响分析。本章首先介绍了集中度、区位熵、空间基尼系数、赫芬达尔指数、EG指数等常用的产业集聚测度方法，并利用区位熵和EG指数测度了我国及各地区文化创意产业的集聚水平。从区位熵来看，北京、上海和广东文化创意产业的集聚水平位于全国前3名，专业化水平相对较高，而西藏、宁夏、青海和海南等省份的集聚水平相对较低，文化创意产业集群化发展步伐相对滞缓；从EG指数来看，2006-2010年，我国文化创意产业集聚水平不断提高，2010年呈现出初步的集聚现象，但距离显著集聚还有一定距离。随后我们利用相应的测算结果研究了文化创意产业集聚对我国经济增长的影响，初步探索了二者之间的关系。研究结果表明，文化创意产业集聚对人均GDP的增长具有明显的促进作用，产业集聚水平每提高1%，将会推动人均GDP增长2.2%，文化创意产业的知识溢出效应十分明显，具有较强的杠杆效应。
第6章是基于集群的文化创意产业竞争力分析。本章首先明确了文化创意产业竞争力的内涵及其构成要素，文化创意产业竞争力就是以创意为核心的文化产业在市场竞争中所表现出来的优于其他竞争主体的一种能力，这种能力是文化底蕴、创意设计、信息传输等要素之间相互作用的一种综合水平。随后以系统性、可比性、可测度为原则，结合我国文化创意产业的实际状况，构建了我国文化创意产业竞争力评价指标体系，并利用该评价指标体系对我国文化创意产业的发展水平进行了较为详尽的分析。研究结果表明，当前，决定我国文化创意产业竞争力的主要因素有文化产出水平、人力资源素质、基础设施建设、广电普及程度和电子制品产量。2010年，我国文化创意产业竞争力地区差异较大，广东、浙江、北京等东部省市的文化创意产业竞争力较强，湖南和四川分别引领中部和西部地区的文化创意产业，青海、海南和宁夏的文化创意产业竞争力相对较弱。在综合考虑竞争力和集群因素之后，各省的排名有小幅变化，但综合实力排在前五位的省市（北京、上海、广东、浙江、江苏）表现稳定，不论是竞争力还是集聚指数都排在全国前五位，而我国广大的中西部地区，特别是西部地区的文化创意产业竞争力和产业集群水平均处于全国下游水平。本章最后，对文化创意产业集聚和竞争力的关系进行了探索性分析，得到结论表明，产业集聚和产业竞争力具有十分显著的高相关性，文化创意产业集聚是促进产业竞争力提升的一种重要产业组织形式。
第7章是基于集群的文化创意产业投入产出效率分析。本章首先明确了文化创意产业效率的内涵及其构成要素，文化创意产业具有效率是指文化创意产业的人力、资本等要素投入得到了充分利用，能够带来最大产出的情况。随后确定了研究我国文化创意产业效率的方法，选取了投入产出指标，对我国各地区文化创意产业的投入产出效率进行了评价，并根据评价结果分析了各省市表现优劣的原因，探索了改进提升的空间。结果显示，总体来看，我国文化创意产业的投入产出效率较高，发展态势较好。分地区来看，北京、吉林、上海、江苏、山东、湖北、湖南、广东、广西、重庆、四川、贵州、云南13个省市的文化创意产业均表现出高效率。其余的13个省市的效率均值也较高，但山西和内蒙古的文化创意产业投入产出效率较低，远低于平均值。此外，河北、黑龙江、安徽、福建、河南和陕西的效率值也低于平均水平，同属效率较低的省份。从投入的冗余和产出的亏空来看，山西文化创意产业的创意资源并没有发挥应有的作用，处于无效率的投入，而同时文化创意产业的产出亏空率较高，产出规模存在较大的提升空间。此外，黑龙江、福建、河南、海南和陕西的文化创意产业也存在着类似于山西的问题，即投入存在较大的冗余，而产出存在较大的亏空。从被参考次数来看，湖南居26个省市首位，表明湖南文化创意产业的投入产出效率较高，是26个被评价省份中文化创意产业发展的排头兵。此外，吉林、上海、广东和四川的被参考次数均为6次，也是文化创意产业发展较好的省市，投入产出效率较高。
第8章是我国文化创意产业集群发展的支撑体系分析。本章首先对我国文化创意产业的资金支撑体系展开分析，从我国文化创意产业融资模式现状及存在的问题、发达国家文化创意产业融资模式探究以及我国文化创意产业发展的融资模式选择三个方面出发，从资金角度提出了促进我国文化创意产业发展的对策建议。然后对文化创意产业人才培养体系进行深入研究，明确了创意人才的概念及分类，分析了我国创意人才的发展现状及存在的问题，最后对我国创意人才的培养和管理机制构建提出了相关对策建议。从资金支撑体系来看，应做好三项工作：一是培育专业担保机构，构建信用融资担保体系；二是创立民间参与投资的文化创意产业发展基金，借助股息分红、税收减免等手段鼓励其长期投资；三是鼓励贯通文化创意全产业链条的投资活动。从人才培养体系来看，应做好三项工作：一是高校应建立起对文化产业链不断供给的长效机制；二是企业应注重经验训练与专业训练的结合；三是政府应注重氛围营造与职业培养的结合。
With the rapid development of the science and technology and the rise of theconsumer level, the "new economy" based on "knowledge" and "culture" is emerging,"personalized services" and "consumer economy" characterized increasinglyprominent, modern service industry is developing extremely fast based on newtechnologies and new mode. Therefore the cultural creative industries are growingrapidly along with these. Creative industries is emerging industries with culture-based,creative-centered, idea-motivated, in order to produce high value-added productsthrough the development and use of intellectual property rights. Coverage from theindustry point of view, creative industries not only reflect the culture of traditionalareas such as libraries, cultural heritage, performing arts, book publishing, radio andtelevision, audio and video recording products, but also express the emerging creativearea include information services, sports and entertainment, movies, intellectualproperty and new media.
At present, creative industries has become an important feature of the developedcountries and regional economic development. Scale and level of the development ofcultural creative industries based on innovation, creativity, and creative is becomingthe sign and the most important criteria to evaluate a national and regionalcomprehensive competitive strength. United Kingdom, United States, Japan and othercountries established their cultural creative industries as the pillar industry of theirown development, and by taking a large number of policy measures and instrumentsto actively promote industries and expand the industrial cluster level. Industrialclusters can achieve optimal allocation of factor resources; enhance the utilizationefficiency and the competition strength. This industry organization is in the form witha high degree of knowledge spillovers complement of the cultural creative industry.The industry is developing rapidly with promoting other coordinated development of related industries. In recent years, the Chinese government also attaches greatimportance to the cultural and creative industries and strongly support its rapidexpansion, cluster development, especially in eighteen report referred to a new height,established cultural industry will become a pillar industry of the national economy in2020. It can be expected, along with the rapid development of the knowledgeeconomy and information technology continues to progress, cultural and creativeindustries are gradually become the core industries of the new economic era, a vastreservoir of potential value, will become the new driving force of the globaleconomic development. At the same time, the cultural and creative industries will bethe next stage to promote the main force of China's sustained and stable economicgrowth, the cultural creative industries which is taking cluster as the main mode ofdevelopment, will play significant role in promoting China's economy to achieve afundamental change in the new round of growth and economic development patterns.
From the theoretical research achievements point of view, although manyscholars have studied the cultural creative industries in the past. However, the basis ofits research, research methods and research perspective remains to be furtherexpanded. The comprehensive analysis from the the cluster perspective of culturalcreative industries are not many. From the reality of the situation, the analysis ofcultural creative industries cluster formation and development, the study of howcultural creative industries cluster impact on the region’s economic development, theexploration of the personnel training mechanism and financing model to supportcultural creative industries, which will play a great significance to enhance thecompetitiveness level of the creative industries in China, and promote the healthydevelopment of China's cultural creative industries, and even to achieve thesustainable development of the national economy.
This dissertation is studying the cultural creative industries cluster developmentin China. By reviewing the domestic and international literature and clarifying thetheoretical basis of the economics, and summarizing the development status ofcultural creative industries both in China and developed countries. There are someexperiences that China can learn from. By constructing the index system, thedissertation also evaluate the competitiveness level of the cluster by taking use of factor analysis method. Then found the influencing factors of competitiveness. In themeantime, space efficiency improvements were found by evaluating the creativeindustries cluster based input-output efficiency. Finally, we analyze the impact of thesupporting system for the future development of cultural creative industries, discussthe policy options proposed financing model and talent cultivation from capital andtalent as two key aspects.
There are eight chapters in the dissertation, they are as follows:
Chapter1: An introduction. First, we consider the research background, thequestion based on research significance. Subsequently, literature review is followedby. Then it’s the main content and research framework, depicting the research context.Section four of this chapter introduced the research methods, including documentaryresearch, case studies and empirical analysis. Finally, the thesis introduces theinnovation and deficiencies.
Chapter2: Basic concept and theoretical basis. This chapter first introduces theconcept, characteristics, and the role of cultural creative industries. From the contentpoint of view, the cultural and creative industries in the emerging culture based,creativity as a core and ideology as the driving force, with high-tech integrated toenhance cultural resources, production of high value-added products through thedevelopment and use of intellectual property industries. From the characteristics pointof view, creative industries have four main characteristics such as knowledgegathering, value-added, integration and advance with times. From the role of point ofview, creative industry has three major roles: promote economic restructuring,improve the comprehensive national competitive advantage; promote regionaleconomic development, and enhance the region’s economic competitiveness; promotegrowth in three industries to enhance the industry and the integration of the level ofdevelopment. Subsequently, this study has determined the theoretical basis that is thetheory of industrial organization, the theory of industrial clusters and industrialcompetitiveness theory.
Chapter3: Study on development of cultural creative industries in China anddeveloped countries. I selected United Kingdom as the analysis object because it isthe first to propose creative industries and formulate corresponding policies.. In addition, United States, Australia and other developed countries also introduced. Thechapter then describes the current development status of creative industries in Chinaand some regions. Indicates the Enlightenment to China combined with thedevelopment of foreign experience. We have four main lessons according to theexperience from these counturies: Firstly, the government should vigorously supportthe development of cultural and creative industries; secondly, government shouldvigorously support the creative enterprises to actively establish the leader enterprise;thirdly, we should make efforts to protect the intellectual property rights; fourthly, weshould focus on cultivating creative professionals.
Chapter4: Cluster development analysis of cultural creative industries. Thischapter first introduces the concept, classification and characteristics of culturalcreative industries cluster. From the connotation point of view, cultural creativeindustries cluster established with a number of independent interrelated creativeenterprises and related supporting mechanism which includes all upstream anddownstream enterprises of the creative industries chain. From the classification pointof view, the cluster can be divided into cultural clusters and location cluster inaccordance with the reasons for the formation; axle-cluster and pie-cluster can bedivided according to the structure of the cluster. From the characteristics of view,there are three main features: Firstly, cultural creative industries cluster has thefeature of location and embeddedness. Secondly, creative industries clusterproduction has the relevance of science and technology. Thirdly, the creation ofcreative industries cluster has innovativeness and risk. Followed by an analysis of thecreative industries cluster formation mechanism expanded from dynamic mechanismand development. From the point view of formation mechanism, the dynamicmechanism of the cultural creative industries cluster dynamic mechanism to reducetransaction costs, a dynamic mechanism to obtain a competitive advantage, expandthe power of the capital stock of mechanism. From the development conditions pointof view, the main conditions for the development of cultural creative industriescluster includes four aspects. They are as follows: consumer demand, productionresources, support industries, and environmental factors. Then development mode ofthe creative industries cluster are analyzed from international comparisons and practice in China. Finally, the study concludes the analysis of the creative industriesspace effects. The creative industries cluster has three effects, external economiceffects, the effect of the joint development and network innovation effects.
Chapter5: The agglomeration level analysis of creative industries and its impacton economic growth. This chapter describes the industrial agglomeration methodsinclude concentration degree, location entropy, the space Gini coefficient, theHerfindahl index, EG index commonly. As we see from the location entropy of theconcentration level. Beijing, Shanghai and Guangdong are ranking the top three inChina with a higher level of specialization. The concentration level in Tibet, Ningxia,Qinghai and Hainan is relatively low. The pace of creative industries clusterdevelopment is relatively stagnant. As shown from the EG indices, the concentrationlevel of the creative industries is improving in China from2006to2010. It continuesto increase in2010. Location entropy and EG index then used to measure theconcentration level of creative industries in China. The results show how creativeindustries concentration impact on China's economic growth. The research resultsalso show that the creative industries have a significant role in promoting the growthof per capita GDP. Every1%increase from the level of industrial clustering will bring2.2%growth of per capita GDP. And knowledge spillover effect of the creativeindustries is very obvious.
Chapter6: Competitiveness analysis based on the creative industries cluster.This chapter begins with a clear meaning of the competitiveness of creative industriesand its constituent elements. Creative industries competitiveness is the capabilityshow cultural industries with the creative core have better market competition thanothers. This capability is a comprehensive level of interaction between the elementsof culture, creative design, and information transmission. Subsequently, China'screative industry competitiveness evaluation index system is built on systematic,comparable, measurable principle, combined with the actual status of China's creativeindustries. The research results show that the main factors of competitiveness ofChina's creative industries are determined by cultural level of output, quality ofhuman resources, infrastructure construction, radio and television penetration andelectronic products production. In2010, creative industries competitive regions are different in China. The competitiveness of creative industries in Guangdong,Zhejiang, Beijing are stronger. Hunan and Sichuan province lead in the central Chinaand western regions. The competitiveness in Qinghai, Hainan and Ningxia isrelatively weak. In considering the factors of competitiveness and clusters, there is aslight change in the ranking of the provinces. However, the overall strength of the topfive provinces and cities (Beijing, Shanghai, Guangdong, Zhejiang, Jiangsu) havestable performance. Whether competitive or Concentration Index ranked top five inthe country, the majority of the central and western regions of China, especially in thewestern region of cultural creative industrial competitiveness and industrial clustersaverage in the country downstream level. Finally, we explore the relationship of thecompetitiveness and the concentration level of creative industries. It is concluded thatindustrial agglomeration and industrial competitiveness is highly correlated eachother. The industrial clustering is an important form of industrial organization topromote the competitiveness.
Chapter7: The input-output efficiency analysis based on the creative industriescluster. This chapter begins with a clear connotation of the creative industryefficiency and its constituent elements. The efficiency refers to human capital factorinputs of the creative industries have been fully utilized, which can bring themaximum output. Subsequently the research methods are determined. For example,input and output indicators are selected to evaluate the input-output efficiency ofcreative industries in China and lifting methods are recommended based on theresults of evaluation.The results showed that the input-output efficiency of China'screative industries is high in overall and the development trend is good. Regionally,Beijing, Jilin, Shanghai, Jiangsu, Shandong, Hubei, Hunan, Guangdong, Guangxi,Chongqing, Sichuan, Guizhou, Yunnan also showed high efficiency. The rest13provinces or cities also show a higher efficiency. However, creative industries inShanxi and Inner Mongolia have lower input and output efficiency, far below than theaverage. In addition, the efficiency of Hebei, Heilongjiang, Anhui, Fujian, Henan andShaanxi provinces is also lower than the average, which is less efficient. Creativeindustries in Shanxi has failed shown from the input and output evaluation analysis.In addition, Heilongjiang, Fujian, Henan, Hainan and Shanxi have the similar situation as Shanxi, that is a larger redundant output with a big deficit. From thestatistics, Hunan ranks the first place in26provinces or cities, indicating that Hunanhas the higher input-output efficiency. Besides, Jilin, Shanghai, Guangdong andSichuan also have higher input-output efficiency and developing relatively fast.
Chapter8: Supporting system analysis of the China's creative industries clusterdevelopment. From the financial point of view, I have proposed the suggestions andadvice by studying the current status and problems of financing mode, experiencefrom developed countries, and financing mode in China. By studying personneltraining system, the concept of creative talent and classification are becoming clear.By examining the current status and problems China's creative talents, somesuggestions are proposed to build creative talents cultivation and managementmechanisms. From financial support system point of view, three suggestions are asfollows: Firstly, to cultivate professional security agencies and build credit financingguarantee system; secondly, to create private funds and creative industries investmentfunds, take use of palliative dividends, tax breaks and other means to encourage itsthe long-term investment; thirdly, to encourage investment activities through culturalcreative industries chain. Three things should be done from the personnel trainingsystem: First, universities should take the responsibility to establish a long-termmechanism to continuously supply the creative industries chain; the enterprisesshould focus on a combination of experience in training and professional training;third, the government should pay more attention to a combination of the environmentcreation and occupational training.
目前，文化创意产业的迅速成长已经成为发达国家和地区经济发展的重要特征，以创新、创造、创意为核心的文化创意产业的发展规模和水平，正在逐渐成为一个国家或地区整体竞争力高低的重要标志之一。从国际上来看，英国、美国、日本等国家都把文化创意产业确立为本国重点发展的支柱产业，并通过制定相关的政策措施以及采取大量的有效手段来积极推动产业规模不断壮大、集群水平不断提升。因为产业集群能够实现要素资源的优化配置、利用效率的显著提高和竞争实力的不断增强，这种产业组织形式与文化创意产业高度的知识溢出效应相得益彰，在产业自身快速发展的同时能够显著带动其他关联产业协调发展。近年来，我国政府也高度重视文化创意产业并大力支持其快速扩张、集群发展，特别是在十八大报告中被提到了新的高度，确立文化产业在2020年将成为国民经济支柱性产业。可以预见，伴随知识经济的快速发展和信息技术的不断进步，文化创意产业正逐步成为新经济时代的核心产业，蕴藏着巨大的潜在价值，将成为全球经济发展的新动力。同时，文化创意产业将成为下一阶段推动我国经济持续稳定增长的主力军，以集群为主要发展模式的文化创意产业，将会对我国经济实现新一轮增长以及经济发展模式的根本转变起到巨大的推动作用。
从理论研究情况来看，虽然不少学者都针对文化创意产业进行了研究，但其研究基础、研究方法以及研究角度等方面都还有待进一步拓展，从集群视角对文化创意产业进行综合分析的成果还较少。从现实发展情况来看，分析文化创意产业集群的形成与发展，研究文化创意产业集群对产业竞争力和地区经济发展的影响，同时注重探讨支持文化创意产业实现持久发展的融资模式选择和人才培养机制，对于提升我国文化创意产业的竞争力水平、推动我国文化创意产业的健康成长，乃至实现国民经济的可持续发展都具有重要意义。
基于理论研究上的不足和现实发展的需要，本文对我国文化创意产业集群发展进行了研究，通过综述已有国内外文献，阐述了研究的经济学理论基础，对国内外文化创意产业的发展现状进行客观总结并提炼出我国可以借鉴的经验，介绍了我国文化创意产业的集聚发展现状，分析了集群效应。通过构建指标体系，利用因子分析方法客观评价了基于集群的现实竞争力水平，发现了竞争力影响因素，同时对基于集群的文化创意产业投入产出效率进行评价，找到效率改进的空间。最后，我们还对影响文化创意产业未来发展的支撑体系进行分析，从资金和人才两大方面深入探讨并提出融资模式和人才培养的政策选择。
全文共分为8章，具体内容为：
第1章是绪论。首先，本章介绍了全文的选题背景、问题提出的依据与研究意义。随后，对文化创意产业及相关因素的国内外研究文献进行了较为详细的综述。然后，介绍了全文的主要内容与研究框架，描绘了全文的研究脉络。本章第4节介绍了全文所使用的研究方法，主要包括文献研究法、案例分析法和实证分析法。最后，介绍了本文的创新与不足。
第2章是基本概念与理论基础。本章首先介绍了文化创意产业的概念、特点和作用。从内涵来看，文化创意产业是以文化为基础、以创造为核心、以思想为动力，利用高科技手段对文化资源进行深度整合，通过知识产权的合理开发和广泛运用，生产出高附加值产品和服务的新兴产业。从特点来看，文化创意产业具有知识集聚性、价值增值性、深度融合性、与时俱进性四个特点。从作用来看，文化创意产业具有三大作用：一是促进经济结构调整，提升国家综合竞争优势；二是促进地区经济发展，提升地区经济竞争力；三是促进三次产业增长，提升行业之间融合发展水平。随后，确定了全文研究的理论基础，即产业组织理论、产业集群理论以及产业竞争力理论。
第3章是国内外文化创意产业发展现状。由于英国是最早提出文化创意产业并制定相应政策进行大力扶持的国家，因此本章首先选取了英国作为分析对象。此外，美国、澳大利亚等国家也针对文化创意产业出台了相关政策加以引导，这两个国家也是本文的分析对象。本章随后介绍了全国及部分地区文化创意产业的发展现状，并结合国外的发展经验总结提炼出对我国的启示。从英国、美国和澳大利亚等国家发展文化创意产业的经验来看，结合我国的实际情况，对我国文化创意产业的发展主要有四点启示：一是政府应大力支持文化创意产业的发展；二是应大力扶持创意企业，积极建立领军式企业；三是加大知识产权的保护力度；四是着力培养创意专业人才。
第4章是文化创意产业集群发展分析。本章首先介绍了文化创意产业集群的内涵、分类以及特点，从内涵来看，文化创意产业集群就是在文化创意产业的各个领域中，由众多独立又相互关联的文化创意企业以及相关支撑机构，依据专业化分工和协作关系建立起来并在一定区域集聚而成的产业组织，它包括了文化创意产业链上的所有上、下游企业。从分类来看，按照集群的形成原因，可以分为文化式集群和区位式集群；按照集群的结构可以分为轮轴式集群和大饼式集群。从特点来看，文化创意产业集群的特点主要有三个：一是文化创意产业集群发展具有区位性和根植性，二是文化创意产业集群生产具有关联性和科技性，三是文化创意产业集群创造具有创新性和风险性。随后我们分析了文化创意产业集群的形成机制，从动力机制和发展条件两个方面展开。从形成机制来看，文化创意产业集群的动力机制主要有降低交易成本的动力机制、获取竞争优势的动力机制、扩大资本存量的动力机制。从发展条件来看，文化创意产业集群的发展条件主要包括消费需求、生产资源、支撑产业和环境因素四个方面。第3节是文化创意产业集群的发展模式分析，从国际比较和我国实践两个方面进行分析，本章最后对文化创意产业集聚的空间效应进行了分析，提出了具有高度知识密集、高度产业融合等鲜明特点的文化创意产业集群具有三个效应，即外部经济效应、协同发展效应和网络创新效应。
第5章是文化创意产业集聚水平及其对经济增长的影响分析。本章首先介绍了集中度、区位熵、空间基尼系数、赫芬达尔指数、EG指数等常用的产业集聚测度方法，并利用区位熵和EG指数测度了我国及各地区文化创意产业的集聚水平。从区位熵来看，北京、上海和广东文化创意产业的集聚水平位于全国前3名，专业化水平相对较高，而西藏、宁夏、青海和海南等省份的集聚水平相对较低，文化创意产业集群化发展步伐相对滞缓；从EG指数来看，2006-2010年，我国文化创意产业集聚水平不断提高，2010年呈现出初步的集聚现象，但距离显著集聚还有一定距离。随后我们利用相应的测算结果研究了文化创意产业集聚对我国经济增长的影响，初步探索了二者之间的关系。研究结果表明，文化创意产业集聚对人均GDP的增长具有明显的促进作用，产业集聚水平每提高1%，将会推动人均GDP增长2.2%，文化创意产业的知识溢出效应十分明显，具有较强的杠杆效应。
第6章是基于集群的文化创意产业竞争力分析。本章首先明确了文化创意产业竞争力的内涵及其构成要素，文化创意产业竞争力就是以创意为核心的文化产业在市场竞争中所表现出来的优于其他竞争主体的一种能力，这种能力是文化底蕴、创意设计、信息传输等要素之间相互作用的一种综合水平。随后以系统性、可比性、可测度为原则，结合我国文化创意产业的实际状况，构建了我国文化创意产业竞争力评价指标体系，并利用该评价指标体系对我国文化创意产业的发展水平进行了较为详尽的分析。研究结果表明，当前，决定我国文化创意产业竞争力的主要因素有文化产出水平、人力资源素质、基础设施建设、广电普及程度和电子制品产量。2010年，我国文化创意产业竞争力地区差异较大，广东、浙江、北京等东部省市的文化创意产业竞争力较强，湖南和四川分别引领中部和西部地区的文化创意产业，青海、海南和宁夏的文化创意产业竞争力相对较弱。在综合考虑竞争力和集群因素之后，各省的排名有小幅变化，但综合实力排在前五位的省市（北京、上海、广东、浙江、江苏）表现稳定，不论是竞争力还是集聚指数都排在全国前五位，而我国广大的中西部地区，特别是西部地区的文化创意产业竞争力和产业集群水平均处于全国下游水平。本章最后，对文化创意产业集聚和竞争力的关系进行了探索性分析，得到结论表明，产业集聚和产业竞争力具有十分显著的高相关性，文化创意产业集聚是促进产业竞争力提升的一种重要产业组织形式。
第7章是基于集群的文化创意产业投入产出效率分析。本章首先明确了文化创意产业效率的内涵及其构成要素，文化创意产业具有效率是指文化创意产业的人力、资本等要素投入得到了充分利用，能够带来最大产出的情况。随后确定了研究我国文化创意产业效率的方法，选取了投入产出指标，对我国各地区文化创意产业的投入产出效率进行了评价，并根据评价结果分析了各省市表现优劣的原因，探索了改进提升的空间。结果显示，总体来看，我国文化创意产业的投入产出效率较高，发展态势较好。分地区来看，北京、吉林、上海、江苏、山东、湖北、湖南、广东、广西、重庆、四川、贵州、云南13个省市的文化创意产业均表现出高效率。其余的13个省市的效率均值也较高，但山西和内蒙古的文化创意产业投入产出效率较低，远低于平均值。此外，河北、黑龙江、安徽、福建、河南和陕西的效率值也低于平均水平，同属效率较低的省份。从投入的冗余和产出的亏空来看，山西文化创意产业的创意资源并没有发挥应有的作用，处于无效率的投入，而同时文化创意产业的产出亏空率较高，产出规模存在较大的提升空间。此外，黑龙江、福建、河南、海南和陕西的文化创意产业也存在着类似于山西的问题，即投入存在较大的冗余，而产出存在较大的亏空。从被参考次数来看，湖南居26个省市首位，表明湖南文化创意产业的投入产出效率较高，是26个被评价省份中文化创意产业发展的排头兵。此外，吉林、上海、广东和四川的被参考次数均为6次，也是文化创意产业发展较好的省市，投入产出效率较高。
第8章是我国文化创意产业集群发展的支撑体系分析。本章首先对我国文化创意产业的资金支撑体系展开分析，从我国文化创意产业融资模式现状及存在的问题、发达国家文化创意产业融资模式探究以及我国文化创意产业发展的融资模式选择三个方面出发，从资金角度提出了促进我国文化创意产业发展的对策建议。然后对文化创意产业人才培养体系进行深入研究，明确了创意人才的概念及分类，分析了我国创意人才的发展现状及存在的问题，最后对我国创意人才的培养和管理机制构建提出了相关对策建议。从资金支撑体系来看，应做好三项工作：一是培育专业担保机构，构建信用融资担保体系；二是创立民间参与投资的文化创意产业发展基金，借助股息分红、税收减免等手段鼓励其长期投资；三是鼓励贯通文化创意全产业链条的投资活动。从人才培养体系来看，应做好三项工作：一是高校应建立起对文化产业链不断供给的长效机制；二是企业应注重经验训练与专业训练的结合；三是政府应注重氛围营造与职业培养的结合。
With the rapid development of the science and technology and the rise of theconsumer level, the "new economy" based on "knowledge" and "culture" is emerging,"personalized services" and "consumer economy" characterized increasinglyprominent, modern service industry is developing extremely fast based on newtechnologies and new mode. Therefore the cultural creative industries are growingrapidly along with these. Creative industries is emerging industries with culture-based,creative-centered, idea-motivated, in order to produce high value-added productsthrough the development and use of intellectual property rights. Coverage from theindustry point of view, creative industries not only reflect the culture of traditionalareas such as libraries, cultural heritage, performing arts, book publishing, radio andtelevision, audio and video recording products, but also express the emerging creativearea include information services, sports and entertainment, movies, intellectualproperty and new media.
At present, creative industries has become an important feature of the developedcountries and regional economic development. Scale and level of the development ofcultural creative industries based on innovation, creativity, and creative is becomingthe sign and the most important criteria to evaluate a national and regionalcomprehensive competitive strength. United Kingdom, United States, Japan and othercountries established their cultural creative industries as the pillar industry of theirown development, and by taking a large number of policy measures and instrumentsto actively promote industries and expand the industrial cluster level. Industrialclusters can achieve optimal allocation of factor resources; enhance the utilizationefficiency and the competition strength. This industry organization is in the form witha high degree of knowledge spillovers complement of the cultural creative industry.The industry is developing rapidly with promoting other coordinated development of related industries. In recent years, the Chinese government also attaches greatimportance to the cultural and creative industries and strongly support its rapidexpansion, cluster development, especially in eighteen report referred to a new height,established cultural industry will become a pillar industry of the national economy in2020. It can be expected, along with the rapid development of the knowledgeeconomy and information technology continues to progress, cultural and creativeindustries are gradually become the core industries of the new economic era, a vastreservoir of potential value, will become the new driving force of the globaleconomic development. At the same time, the cultural and creative industries will bethe next stage to promote the main force of China's sustained and stable economicgrowth, the cultural creative industries which is taking cluster as the main mode ofdevelopment, will play significant role in promoting China's economy to achieve afundamental change in the new round of growth and economic development patterns.
From the theoretical research achievements point of view, although manyscholars have studied the cultural creative industries in the past. However, the basis ofits research, research methods and research perspective remains to be furtherexpanded. The comprehensive analysis from the the cluster perspective of culturalcreative industries are not many. From the reality of the situation, the analysis ofcultural creative industries cluster formation and development, the study of howcultural creative industries cluster impact on the region’s economic development, theexploration of the personnel training mechanism and financing model to supportcultural creative industries, which will play a great significance to enhance thecompetitiveness level of the creative industries in China, and promote the healthydevelopment of China's cultural creative industries, and even to achieve thesustainable development of the national economy.
This dissertation is studying the cultural creative industries cluster developmentin China. By reviewing the domestic and international literature and clarifying thetheoretical basis of the economics, and summarizing the development status ofcultural creative industries both in China and developed countries. There are someexperiences that China can learn from. By constructing the index system, thedissertation also evaluate the competitiveness level of the cluster by taking use of factor analysis method. Then found the influencing factors of competitiveness. In themeantime, space efficiency improvements were found by evaluating the creativeindustries cluster based input-output efficiency. Finally, we analyze the impact of thesupporting system for the future development of cultural creative industries, discussthe policy options proposed financing model and talent cultivation from capital andtalent as two key aspects.
There are eight chapters in the dissertation, they are as follows:
Chapter1: An introduction. First, we consider the research background, thequestion based on research significance. Subsequently, literature review is followedby. Then it’s the main content and research framework, depicting the research context.Section four of this chapter introduced the research methods, including documentaryresearch, case studies and empirical analysis. Finally, the thesis introduces theinnovation and deficiencies.
Chapter2: Basic concept and theoretical basis. This chapter first introduces theconcept, characteristics, and the role of cultural creative industries. From the contentpoint of view, the cultural and creative industries in the emerging culture based,creativity as a core and ideology as the driving force, with high-tech integrated toenhance cultural resources, production of high value-added products through thedevelopment and use of intellectual property industries. From the characteristics pointof view, creative industries have four main characteristics such as knowledgegathering, value-added, integration and advance with times. From the role of point ofview, creative industry has three major roles: promote economic restructuring,improve the comprehensive national competitive advantage; promote regionaleconomic development, and enhance the region’s economic competitiveness; promotegrowth in three industries to enhance the industry and the integration of the level ofdevelopment. Subsequently, this study has determined the theoretical basis that is thetheory of industrial organization, the theory of industrial clusters and industrialcompetitiveness theory.
Chapter3: Study on development of cultural creative industries in China anddeveloped countries. I selected United Kingdom as the analysis object because it isthe first to propose creative industries and formulate corresponding policies.. In addition, United States, Australia and other developed countries also introduced. Thechapter then describes the current development status of creative industries in Chinaand some regions. Indicates the Enlightenment to China combined with thedevelopment of foreign experience. We have four main lessons according to theexperience from these counturies: Firstly, the government should vigorously supportthe development of cultural and creative industries; secondly, government shouldvigorously support the creative enterprises to actively establish the leader enterprise;thirdly, we should make efforts to protect the intellectual property rights; fourthly, weshould focus on cultivating creative professionals.
Chapter4: Cluster development analysis of cultural creative industries. Thischapter first introduces the concept, classification and characteristics of culturalcreative industries cluster. From the connotation point of view, cultural creativeindustries cluster established with a number of independent interrelated creativeenterprises and related supporting mechanism which includes all upstream anddownstream enterprises of the creative industries chain. From the classification pointof view, the cluster can be divided into cultural clusters and location cluster inaccordance with the reasons for the formation; axle-cluster and pie-cluster can bedivided according to the structure of the cluster. From the characteristics of view,there are three main features: Firstly, cultural creative industries cluster has thefeature of location and embeddedness. Secondly, creative industries clusterproduction has the relevance of science and technology. Thirdly, the creation ofcreative industries cluster has innovativeness and risk. Followed by an analysis of thecreative industries cluster formation mechanism expanded from dynamic mechanismand development. From the point view of formation mechanism, the dynamicmechanism of the cultural creative industries cluster dynamic mechanism to reducetransaction costs, a dynamic mechanism to obtain a competitive advantage, expandthe power of the capital stock of mechanism. From the development conditions pointof view, the main conditions for the development of cultural creative industriescluster includes four aspects. They are as follows: consumer demand, productionresources, support industries, and environmental factors. Then development mode ofthe creative industries cluster are analyzed from international comparisons and practice in China. Finally, the study concludes the analysis of the creative industriesspace effects. The creative industries cluster has three effects, external economiceffects, the effect of the joint development and network innovation effects.
Chapter5: The agglomeration level analysis of creative industries and its impacton economic growth. This chapter describes the industrial agglomeration methodsinclude concentration degree, location entropy, the space Gini coefficient, theHerfindahl index, EG index commonly. As we see from the location entropy of theconcentration level. Beijing, Shanghai and Guangdong are ranking the top three inChina with a higher level of specialization. The concentration level in Tibet, Ningxia,Qinghai and Hainan is relatively low. The pace of creative industries clusterdevelopment is relatively stagnant. As shown from the EG indices, the concentrationlevel of the creative industries is improving in China from2006to2010. It continuesto increase in2010. Location entropy and EG index then used to measure theconcentration level of creative industries in China. The results show how creativeindustries concentration impact on China's economic growth. The research resultsalso show that the creative industries have a significant role in promoting the growthof per capita GDP. Every1%increase from the level of industrial clustering will bring2.2%growth of per capita GDP. And knowledge spillover effect of the creativeindustries is very obvious.
Chapter6: Competitiveness analysis based on the creative industries cluster.This chapter begins with a clear meaning of the competitiveness of creative industriesand its constituent elements. Creative industries competitiveness is the capabilityshow cultural industries with the creative core have better market competition thanothers. This capability is a comprehensive level of interaction between the elementsof culture, creative design, and information transmission. Subsequently, China'screative industry competitiveness evaluation index system is built on systematic,comparable, measurable principle, combined with the actual status of China's creativeindustries. The research results show that the main factors of competitiveness ofChina's creative industries are determined by cultural level of output, quality ofhuman resources, infrastructure construction, radio and television penetration andelectronic products production. In2010, creative industries competitive regions are different in China. The competitiveness of creative industries in Guangdong,Zhejiang, Beijing are stronger. Hunan and Sichuan province lead in the central Chinaand western regions. The competitiveness in Qinghai, Hainan and Ningxia isrelatively weak. In considering the factors of competitiveness and clusters, there is aslight change in the ranking of the provinces. However, the overall strength of the topfive provinces and cities (Beijing, Shanghai, Guangdong, Zhejiang, Jiangsu) havestable performance. Whether competitive or Concentration Index ranked top five inthe country, the majority of the central and western regions of China, especially in thewestern region of cultural creative industrial competitiveness and industrial clustersaverage in the country downstream level. Finally, we explore the relationship of thecompetitiveness and the concentration level of creative industries. It is concluded thatindustrial agglomeration and industrial competitiveness is highly correlated eachother. The industrial clustering is an important form of industrial organization topromote the competitiveness.
Chapter7: The input-output efficiency analysis based on the creative industriescluster. This chapter begins with a clear connotation of the creative industryefficiency and its constituent elements. The efficiency refers to human capital factorinputs of the creative industries have been fully utilized, which can bring themaximum output. Subsequently the research methods are determined. For example,input and output indicators are selected to evaluate the input-output efficiency ofcreative industries in China and lifting methods are recommended based on theresults of evaluation.The results showed that the input-output efficiency of China'screative industries is high in overall and the development trend is good. Regionally,Beijing, Jilin, Shanghai, Jiangsu, Shandong, Hubei, Hunan, Guangdong, Guangxi,Chongqing, Sichuan, Guizhou, Yunnan also showed high efficiency. The rest13provinces or cities also show a higher efficiency. However, creative industries inShanxi and Inner Mongolia have lower input and output efficiency, far below than theaverage. In addition, the efficiency of Hebei, Heilongjiang, Anhui, Fujian, Henan andShaanxi provinces is also lower than the average, which is less efficient. Creativeindustries in Shanxi has failed shown from the input and output evaluation analysis.In addition, Heilongjiang, Fujian, Henan, Hainan and Shanxi have the similar situation as Shanxi, that is a larger redundant output with a big deficit. From thestatistics, Hunan ranks the first place in26provinces or cities, indicating that Hunanhas the higher input-output efficiency. Besides, Jilin, Shanghai, Guangdong andSichuan also have higher input-output efficiency and developing relatively fast.
Chapter8: Supporting system analysis of the China's creative industries clusterdevelopment. From the financial point of view, I have proposed the suggestions andadvice by studying the current status and problems of financing mode, experiencefrom developed countries, and financing mode in China. By studying personneltraining system, the concept of creative talent and classification are becoming clear.By examining the current status and problems China's creative talents, somesuggestions are proposed to build creative talents cultivation and managementmechanisms. From financial support system point of view, three suggestions are asfollows: Firstly, to cultivate professional security agencies and build credit financingguarantee system; secondly, to create private funds and creative industries investmentfunds, take use of palliative dividends, tax breaks and other means to encourage itsthe long-term investment; thirdly, to encourage investment activities through culturalcreative industries chain. Three things should be done from the personnel trainingsystem: First, universities should take the responsibility to establish a long-termmechanism to continuously supply the creative industries chain; the enterprisesshould focus on a combination of experience in training and professional training;third, the government should pay more attention to a combination of the environmentcreation and occupational training.
引文
[1]阿尔伯特·格雷柯编著，饶文靖等译.媒体与娱乐产业[M].北京：清华大学出版社，2006.
[2]阿瑟·米勒、迈尔克·戴维斯著，周林等译.知识产权法概要[M].中国社会科学出版社，1998.
[3]艾伦·J·斯科特著，董树宝，张宁译.城市文化经济学[M].北京：中国人民大学出版社，2010.
[4]爱伦·艾尔巴兰等著，陈鹏译.传媒经济学[M].北京:中国传媒大学出版社，2009.
[5]爱伦·艾尔巴兰等著，王越译.全球传媒经济[M].北京:中国传媒大学出版社，2007.
[6]陈慧颖，陈本昌，徐海峰.文化创意产业发展的经济学研究[M].北京：经济科学出版社，2012.
[7]大卫·赫斯蒙德夫著，张菲娜译.文化产业[M].北京：中国人民大学出版社，2007.
[8]宫承波，翁立伟.新媒体产业论[M].北京：中国广播电视出版社，2010.
[9]宫承波，闫玉刚.文化创意产业总论[M].北京：中国广播电视出版社，2008.
[10]郭梅君.创意转型——创意产业发展与中国经济转型的互动研究[M].北京：中国经济出版社，2011.
[11]胡惠林.文化产业学[M].北京：高等教育出版社，2006.
[12]花建等.文化产业的集聚发展：从创意集群到文化空间[M].上海：上海人民出版社，2011.
[13]花建等.文化产业竞争力[M].广州：广东人民出版社，2005.
[14]霍克海默和阿多诺著，渠敬东，曹卫东译.启蒙辩证法[M].上海：上海人民出版社，2003.
[15]吉莉安·道尔著，李颖译.理解传媒经济学[M].北京：清华大学出版社，2004.
[16]姜毅然，张婉茹，王海澜.以市场为导向的日本文化创意产业[M].北京：人民出版社，2009.
[17]蒋三庚，张杰，王晓红.文化创意产业集群研究[M].北京：首都经济贸易大学出版社，2010.
[18]金碚.竞争力经济学[M].广州：广东经济出版社，2003.
[19]金冠军，王玉明.电影产业概论[M].上海：复旦大学出版社，2012.
[20]金元浦.文化创意产业概论[M].北京：高等教育出版社，2010.
[21]考林·霍斯金斯、斯图亚特·迈克法蒂耶、亚当·费恩著，刘丰海等译.全球电视和电影：产业经济学导论[M].北京：新华出版社，2004.
[22]柯林·霍斯金斯，斯图亚特·麦克法蒂耶，亚当·费恩著，支庭荣，吴非译.媒介经济学：经济学在新媒介与传统媒介中的应用[M].广州：暨南大学出版社，2005.
[23]理查德·E.凯夫斯著，孙绯等译.创意产业经济学——艺术的商业之道[M].新华出版社，2004.
[24]厉无畏，王慧敏.创意产业新论[M].上海：东方出版中心，2009.
[25]厉无畏.创意改变中国[M].北京：新华出版社，2009.
[26]利特曼著，尹鸿等译.大电影产业[M].北京：清华大学出版社，2005.
[27]林秀梅.多元统计方法[M].长春：吉林人民出版社，1996.
[28]刘泓，袁勇麟.文化创意产业十五讲[M].成都：四川大学出版社，2012.
[29]柳旭波.传媒业产业组织研究[M].北京：经济科学出版社，2007.
[30]洛朗·克勒通著，刘云舟译.电影经济学[M].北京：中国电影出版社，2008.
[31]吕学武，范周.文化创意产业前沿——见证：使命与方向[M].北京：中国传媒大学出版社，2007.
[32]马歇尔.经济学原理[M].北京：商务印书馆，1991.
[33]迈克尔·波特著，李明轩，邱如美译.国家竞争优势[M].北京：华夏出版社，2002.
[34]麦克卢汉著，何道宽译.理解媒介[M].北京：商务印书馆，2000.
[35]帕夫利克著，周勇，张平锋，景刚译.新媒体技术：文化和商业前景[M].北京：清华大学出版社，2005.
[36]萨缪·鲍尔斯著，江艇等译.微观经济学：行为，制度和演化[M].北京：中国人民大学出版社，2007.
[37]石磊.新媒体概论[M].北京：中国传媒大学出版社，2009.
[38]泰勒·考恩著，王志毅译，创造性破坏：全球化与文化多样性[M].上海：上海人民出版社，2007.
[39]唐·沃德曼，伊丽莎白·詹森，李宝伟等译.产业组织理论与实践[M].北京：机械工业出版社，2009.
[40]藤田昌久，保罗·克鲁格曼，安东尼·维纳布尔斯.空间经济学：城市、区域与国际贸易[M].北京：中国人民大学出版社，2013.
[41]藤田昌久，雅克-弗朗科斯·蒂斯.集聚经济学:城市产业区位与区域增长[M].成都：西南财经大学出版社，2004.
[42]瓦尔特·本雅明著，王才勇译.机械复制时代的艺术作品[M].北京：中国城市出版社，2002.
[43]魏后凯.市场竞争、经济绩效与产业集中——对中国制造业集中与市场结构的实证研究[M].北京：经济管理出版社，2003.
[44]魏后凯等著.中国产业集聚与集群发展战略[M].北京：经济管理出版社，2008.
[45]吴存东，吴琼.文化创意产业概论[M].北京：中国经济出版社，2010.
[46]向勇，刘静.中国文化创意产业园区实践与观察[M].北京：红旗出版社，2012.
[47]肖雁飞，廖双红.创意产业区：新经济空间集群创新演进机理研究[M].北京：中国经济出版社，2011.
[48]谢伦灿.文化娱乐产业的评价与发展[M].北京：中国经济出版社，2009.
[49]熊澄宇.世界文化产业研究[M].北京：清华大学出版社，2012.
[50]徐丹丹.北京文化创意产业发展的金融支持研究[M].北京：经济科学出版社，2011.
[51]杨公朴.产业经济学[M].上海：复旦大学出版社，2005.
[52]殷俊.新媒体产业导论——基于数字时代的媒体产业[M].成都：四川大学出版社，2009.
[53]于启武，蒋三庚.北京CBD文化创意产业发展研究[M].北京：首都经济贸易大学出版社，2008.
[54]约翰哈特利编著，曹书乐等译.创意产业读本[M].北京：清华大学出版社，2007.
[55]詹姆斯·海尔布伦，查尔斯·格雷著，詹正茂等译.艺术文化经济学[M].北京：中国人民大学出版社，2007.
[56]张京成，李岱松，刘利永.文化创意产业集群发展理论与实践[M].北京：科学出版社，2011.
[57]张静静.文化创意产业的知识产权价值评估[M].北京：经济科学出版社，2011.
[58]赵锐.创意产业的知识产权保护研究[M].北京：知识产权出版社，2012.
[59]中野晴行著，甄西译.动漫创意产业论[M].北京：中国传媒大学出版社，2007.
[1]国家广播电影电视总局发展研究中心.中国视听新媒体发展报告（2011）[R].北京：社会科学文献出版社，2011.
[2]姚林青.文化创意产业集聚与发展：北京地区研究报告[R].北京：中国传媒大学出版社，2013.
[3]张京成，王国华.创意城市蓝皮书：北京文化创意产业发展报告[R].北京：社会科学文献出版社，2012.
[4]中国社会科学院新闻与传播研究所.中国新媒体发展报告（2011）[R].北京：社会科学文献出版社，2011.
[1]褚劲风.上海创意产业集聚空间组织研究[D].上海：华东师范大学，2008.
[2]高宏宇.文化及创意产业与城市发展[D].上海：同济大学，2007.
[3]华振.东北地区建设区域绿色创新体系的研究[D].哈尔滨：哈尔滨商业大学，2012.
[4]刘恒军.网络型产业动态竞争理论研究[D].北京：北京邮电大学，2008.
[5]王伟年.城市文化产业区位因素及地域组织研究[D].长春：东北师范大学，2007.
[6]徐光瑞.我国高技术产业竞争力研究[D].长春：吉林大学，2011.
[1]鲍枫，沈颂东，王以宁.我国新媒体产业分析及发展策略研究——基于产业组织理论SCP范式分析[J].当代传播，2012(2):64-66.
[2]鲍枫，沈颂东.文化创意产业竞争力评价及其与集聚水平的关系分析[J].当代传播，2013(1):84-86.
[3]鲍枫，王以宁.英国高校数字媒体人才培养模式研究及其启示[J].外国教育研究，2011(12):44-49.
[4]鲍枫.高校影视艺术专业开展双语教学的思考[J].吉林工程技术师范学院学报，2011(8):51-53.
[5]北京市社会科学院《北京文化创意产业发展研究》课题组.北京文化创意产业的发展定位[J].北京社会科学，2007(4):19-22.
[6]北京市社会科学院《北京文化创意产业发展研究》课题组.北京文化创意产业国际化战略研究[J].北京社会科学，2006(6):18-22
[7]卜希霆，李伟.创意的聚合与辐射——高校文化创意产业孵化器研究[J].现代传播，2009(4):105-107.
[8]蔡赴朝.北京发展文化创意产业的实践与思考[J].求是杂志，2007(22):44-45.
[9]蔡荣生，王勇.国内外发展文化创意产业的政策研究[J].中国软科学，2009(8):77-84.
[10]曹海峰.文化创意产业的时代审视[J].长白学刊，2007(3):143-147.
[11]车吉心，葛玉莹.金融危机与文化创意产业[J].山东社会科学，2010(1):74-76.
[12]陈海宁.中国文化创意产业的演化机制与发展对策[J].江苏大学学报（社会科学版），2009,11(6):85-88.
[13]陈美霞.福建文化创意产业的SWOT分析[J].福建论坛（人文社会科学版），2010(2):29-34.
[14]陈清华.文化创意产业知识溢出效应研究[J].南京社会科学，2010(5):34-38.
[15]陈亚民.文化创意产业发展与区域产业结构升级[J].商业研究，2011(2):112-116.
[16]程坚军.对我国文化创意产业发展及人才培养的思考——以英国文化创意产业发展为例[J].中国广播电视学刊，2010(7):62-64.
[17]邓丽姝.文化创意产业的高端化发展[J].湖北社会科学，2010(7):80-83.
[18]杜继勇.关于河北省文化创意产业发展策略的思考[J].特区经济，2011(4):69-70.
[19]范桂玉.北京市文化创意产业集群发展机制研究[J].特区经济，2009(10):84-86.
[20]方立峰，王颖晖.文化产业生态位内涵与空间格局构建研究[J].山东社会科学，2011(12):53-56.
[21]傅才武，江海全.文化创意产业在“两型社会”建设中的功能作用与价值定位[J].中国地质大学学报（社会科学版），2009,9(4):17-24.
[22]高红岩.文化创意产业的政策创新内涵研究[J].中国软科学，2010(6):80-86,105.
[23]辜胜阻，王敏，刘波.发展文化创意产业推动我国经济转型[J].科技进步与对策，2010,27(6):44-49.
[24]辜胜阻.金融是使文化创意产业成为支柱的引擎[J].中国流通经济，2011(1):8-10.
[25]顾作义，严永树.发展文化创意产业提高文化创造力——广东发展文化创意产业的启示[J].广东社会科学，2010(1):13-20.
[26]胡晓鹏.基于资本属性的文化创意产业研究[J].中国工业经济，2006(12):5-12.
[27]胡宇辰.产业集群效应的经济学分析[J].当代财经，2004(11):76-80.
[28]华正伟.文化创意产业集群空间效应探析[J].生产力研究，2011(2):9-10.
[29]黄娟.文化创意产业聚集区形成机制实证分析[J].商业时代，2010(29):122-123.
[30]蒋三庚.中央商务区文化创意产业集群发展类型与特点[J].经济与管理研究，2009(3):85-88.
[31]金碚.产业国际竞争力研究[J].经济研究，1996(11):39-44,59.
[32]金碚.高技术在中国产业发展中的地位和作用[J].中国工业经济，2003(12):5-10.
[33]金碚.经济学对竞争力的解释[J].经济管理·新管理，2002(22):4-12.
[34]康芸.风险投资进入文化创意产业问题研究[J].科学学与科学技术管理，2010(8):168-171.
[35]李蕾蕾，胡莹.文化创意产业中的知识与学习及其对教育的启示[J].深圳大学学报（人文社会科学版），2009,26(6):139-143.
[36]李蕾蕾.文化创意产业集群的概念误区与研究趋势[J].深圳大学学报（人文社会科学版），2009(26):66-67
[37]李新安.文化资源向文化创意产业转化的支撑因子分析[J].经济经纬，2010(4):35-39.
[38]李艳杰.文化创意产业集群与金融支持[J].特区经济，2010(3):266-267.
[39]厉无畏，于雪梅.关于上海文化创意产业基地发展的思考[J].上海经济研究，2005(8):48-53.
[40]厉无畏.文化创意产业的投融资与风险控制[J].毛泽东邓小平理论研究，2011(2):1-5.
[41]林秀梅，徐光瑞.我国高技术产业竞争力省际比较[J].当代经济研究，2010(5):20-24.
[42]刘冰峰.文化创意产业组织演化的动力机制研究[J].商业时代，2011(13):120-121.
[43]刘江涛，张波.关注文化创意产业[J].经济问题探索，2006(10):36-40.
[44]刘飒，王强.北京市文化创意产业发展实证研究[J].经济管理，2009(2):42-48.
[45]刘学文，王铁军，鲍枫.文化创意产业与中国设计教育[J].文艺争鸣，2012(10).
[46]刘轶.我国文化创意产业研究范式的分野及反思[J].现代传播，2007(1):108-111,116.
[47]路光前.科技创新与科技园区文化创意产业发展[J].西北大学学报（自然科学版），2009,39(5):865-869.
[48]罗宏斌，雷志远.“两型”视角下我国文化创意产业发展的创新思路[J].学术论坛，2009(11):85-88.
[49]罗勇，曹丽莉.中国制造业集聚程度变动趋势实证研究[J].经济研究，2005(8):106-115,127.
[50]马建丽，徐轶瑛.北京文化创意产业集群发展的主体行为分析[J].现代传播，2010(3):155-156.
[51]彭坚，敖琴.江西文化创意产业发展对策研究[J].特区经济，2010(6):173-174.
[52]邵培樟.浙江文化创意产业知识产权创新与保护机制研究[J].特区经济，2010(8):57-59.
[53]石长顺，景义新.中国文化创意产业研究的偏颇与平衡——基于中国期刊全文数据库文献的量化分析[J].河南社会科学，2011,19(3):160-165.
[54]史征.文化创意产业发展指数的框架设计[J].统计与决策，2010(7):32-34.
[55]宋泓明.文化创意产业集群发展研究——以北京市朝阳区为例的分析[J].上海经济研究，2007(12):118-122.
[56]苏卉.文化创意产业集群中的政府行为研究[J].科技管理研究，2010(17):217-219,258.
[57]覃京燕，刘新，张盈盈.可持续设计与文化创意产业发展的关系研究[J].现代传播，2011(5):165-166.
[58]佟贺丰.英国文化创意产业发展概况及其启示[J].科技与管理，2005,(1):29-31.
[59]童冬生，江旺龙，于芳，方文龙.基于三螺旋改进模型的创意产业人才培养研究——以景德镇陶瓷文化创意产业为例[J].科技管理研究，2010(9):151-152,171.
[60]涂妍，陈文福.古典区位论到新古典区位论：一个综述[J].河南师范大学学报(哲学社会科学版)，2003,(5):38-42.
[61]王飞鹏.文化创意产业人才的开发与培育研究[J].人口与经济，2009(5):41-45.
[62]王海燕.武汉城市圈文化创意产业知识产权战略分析[J].科技进步与对策，2011,28(11):59-62.
[63]王晖.北京市与纽约市文化创意产业集聚区比较研究[J].北京社会科学，2010(6):34-39.
[64]王缉慈，童听.简论我国地方企业集群的研究意义[J].经济地理，2001,(5):550-553.
[65]王琳.我国创意产业发展的现状、问题与对策[J].理论探索，2007,(5):59-62.
[66]王琳.滨海新区文化创意产业发展战略研究[J].国家行政学院学报，2010(4):74-78.
[67]王鹏.香港文化创意产业的发展及其启示[J].亚太经济，2007(6):82-86
[68]王鹏.香港文化创意产业发展对我国内地的启示[J].价格月刊，2007(4):40-42.
[69]王如忠.上海文化创意产业发展的战略思路与对策研究[J].上海经济研究，2007(10):76-83.
[70]王旺兴，李艳.产业集群内的知识流动和创新机制[J].科技与管理，2003,(3):42-44.
[71]王晓芳，谢金静.SCP范式的拓展及其在我国IPO市场中的应用[J].华东经济管理，2009(1):35-39.
[72]王宇红，张晓玲.陕西文化创意产业知识产权保护现状、问题和对策研究[J].科技管理研究，2009(8):555-558
[73]王振如，钱静.北京都市农业、生态旅游和文化创意产业融合模式探析[J].农业经济问题，2009(8):14-18.
[74]王子龙，谭清美，许箫迪.高技术产业集聚水平测度方法及实证研究[J].科学学研究，2006(5):706-714.
[75]魏后凯.对产业集群与竞争力关系的考察[J].经济管理，2003(6):4-11.
[76]魏后凯.中国制造业集中状况及其国际比较[J].中国工业经济，2002(1):41-49.
[77]魏江.小企业集群创新网络的知识溢出效应[J].科研管理，2003,(7):54-60.
[78]魏鹏举，杨青山.文化创意产业集聚区的管理模式分析[J].中国行政管理，2010(1):81-83.
[79]魏权龄，卢刚，蒋一清，盛景烨.DEA方法在企业经济效益评价中的应用[J].统计研究，1990(2):58-62.
[80]魏权龄.数据包络分析(DEA)[J].科学通报，2000,45(17):1793-1808.
[81]魏守华，石碧华.集群竞争力的动力机制以及实证分析[J].中国工业经济，2002,(1):59-65.
[82]文化创意产业与城市服务业竞争力:基于全球城市数据的实证研究[J].宁夏社会科学，2011(1):39-43.
[83]吴德进.产业集群的组织性质：属性与内涵[J].中国工业经济，2004,(7):14-20.
[84]吴俐萍.创意产业发展的政策支撑体系研究[J].科技法制与政策研究，2006,(11):21-24.
[85]吴锡俊.文化创意产业发展中的政府职能转变与政策取向研究[J].现代传播，2011(2):142-143.
[86]吴向鹏.产业集群：一个文献综述[J].当代财经，2003,(9):105-108.
[87]吴晓波.企业集群技术创新环境与主要模式研究[J].研究与发展管理，2003,(4):46-49.
[88]奚建华.从文化产业到文化创意产业：现实走向与逻辑路径[J].浙江学刊，2007(6):192-194.
[89]夏春秋.发展文化创意产业的哲学思考[J].求索，2006(10):134-136.
[90]肖永亮，姜振宇.创意城市和创意指数研究[J].同济大学学报（社会科学版），2010,21(3):49-57.
[91]谢润邦，戴盛.城市发展与产业集群形态的变迁[J].财经理论与实践，2005,(6):94-96.
[92]刑华.文化创意产业价值链整合及其发展路径探析[J].经济管理，2009(2):37-41.
[93]熊澄宇.英国创意产业发展的启示[J].求是，2012(7):60-62.
[94]徐丹丹，孟潇，卫倩倩.文化创意产业发展的文献综述[J].云南财经大学学报，2011(2):105-113.
[95]徐光瑞.中国高技术产业集聚与产业竞争力——基于5大行业的灰色关联分析[J].中国科技论坛，2010(8):47-52.
[96]徐信贵，陈伯礼.台湾文化创意产业的政策推动与法制构造[J].亚太经济，2010(5):130-134.
[97]徐循华，臧正美.论江苏文化创意产业的发展[J].艺术百家，2006(7):145-146.
[98]徐延.文化创意产业概念辨析[J].当代传播，2007(4):84-86.
[99]姚东旭.文化创意产业的界定及其意义[J].商业时代，2007(8):95-96.
[100]叶建亮.知识溢出与企业集群[J].经济科学，2001,(3):23-30.
[101]张潮.试析文化创意产业兴起的历史必然[J].湖北社会科学，2010(2):54-56.
[102]张辉.产业集群竞争力的内在经济机理[J].中国软科学，2003,(1):70-74.
[103]张济荣，张梦岩.文化创意产业发展对就业增长贡献分析——以北京市为例[J].现代传播，2011(5):144-145.
[104]张杰.北京CBD功能区文化创意产业集群成因研究[J].中国商贸，2010(6):216-217.
[105]张洁.中国文化创意产业的空间分布和地区绩效分析[J].商业经济与管理，2011(2):64-70.
[106]张立.文化创意产业格局下的工业设计思考[J].科技进步与对策,2007,24(8):79-81.
[107]张梅青，张蕾.文化创意产业与社区交融互动模式研究——借鉴台湾社区营造实例[J].山西财经大学学报，2010,32(2):151-152.
[108]张世君.论我国文化创意产业法律保护体系之构建[J].法学杂志，2011(1):42-44.
[109]张炜，姚海棠.试析北京市文化创意产业的影响因素分析[J].北京社会科学，2011(3):20-25.
[110]张雅丽，汪遵瑛.英国、美国等国外创意产业对我国的启示[J].兰州学刊，2010(1):68-71.
[111]张振鹏，马力.文化创意产业集群形成机理探讨[J].经济体制改革，2011(2):176-180.
[112]赵继敏，刘卫东.文化创意产业的地理学研究进展[J].地理科学进展，2009(4):503-510.
[113]赵瑾璐，潘志恒.浅析北京文化创意产业的发展[J].中国特色社会主义研究，2007(2):79-83.
[114]赵静超，司若.媒介融合与文化创意产业价值链的延展[J].电视研究，2010(6):13-15.
[115]钟德友.重庆市文化创意产业园区发展的制约因素与解决对策探讨[J].探索，2010(2)：10-13.
[116]周国林.基于产业升级视角的文化创意产业发展策略[J].湖北社会科学，2010(5):93-96.
[117]周哲.试论当前文化创意产业发展的三要务[J].现代传播，2010(10):156-157.
[118]朱慧，王垚鑫.基于城市面板数据的文化创意产业集聚效应研究[J].商业时代，2010(18):121-123.
[119]朱悦龙.文化产业基本理论探析[J].中国矿业大学学报(社会科学版)，2005,(4):125-129.
[120]庄琦春.文化创意产业专业规划与区域发展研究[J].北京工商大学学报(社会科学版)，2011,26(2):118-121.
[1] Bell, D. The Cultural Contradictions of Capitalism (20th ed.)[M]. New York:Basic Books,1976.
[2] Bilton, C. Management and Creativity: From Creative Industries to CreativeManagement [M]. Wiley-Blackwell,2006.
[3] Caves, R. Creative Industries: Contracts between Art and Commerce [M].Massachusetts: Harvard University Press,2002.
[4] Cowen,T. In Praise of Commercial Culture [M]. Cambridge, MA: HarvardUniversity Press,1998.
[5] Davies R.&Sigthorsson G. Introducing the Creative Industries: From Theoryto Practice [M]. London: Sage,2013.
[6] Dieter Puchta, Friedrich Schneider, Stefan Haigner, Florian Wakolbinger,Stefan Jenewein. The Berlin Creative Industries: An Empirical Analysis ofFuture Key Industries [M].Wiesbaden: Gabler Verlag,2010:23-30,41-52.
[7] Dubinskas, F.A. Culture and Conflict: The Cultural Roots of Discord. HiddenConflict in Organizations. D. M. Kolb and J. Bartunek [M]. Newbury Park,CA, Sage,1992.
[8] Faulkner, R.R. Music on Demand: Composers and Careers in the HollywoodFilm Industry [M]. New Brunswick, NJ, Transaction Books,1983.
[9] Flew, T. Creative Industries and Urban Development: Creative Cities in the21st Century [M]. Routledge,2012.
[10] Flew, T. The Creative Industries: Culture and Policy [M]. London: Sage,2011.
[11] Florida, R. The rise of the creative class [M]. New York: Basic Books,2002.
[12] Hartley, J (ed.). Creative Industries[M]. Oxford: Blackwell,2005.
[13] Harvey, D. Spaces of Capital: towards a Critical Geography [M]. Edinburgh:Edinburgh University Press,2001.
[14] Hesmondhalgh, D. and Baker S. Creative Labour: Media Work in ThreeCultural Industries (Culture, Economy and the Social)[M]. London: Routledge,2011.
[15] Hesmondhalgh, D. The Cultural Industries (2nd Edition)[M]. London: Sage,2007.
[16] Higgs, P. Cunningham, S., Bakhshi, H. Beyond the Creative: The CreativeEconomy in the United Kingdom [M]. London: NESTA,2008.
[17] Howkins, J. The Creative Economy: How People Make Money from Ideas [M].London: The Penguin Press,2001:264.
[18] Howkins, J. The Mayor's Commission on the Creative Industries [M]. CreativeIndustries. J. Hartley, Blackwell Publishing,2005:117-125.
[19] Jones, C. Careers in Project Networks: The Case of Film Industry. TheBoundaryless Career New Employment Principle for a New Organization Era.M.B. Arthur and D. M. Rousseau [M]. New York, Oxford University Press,1996.
[20] Krugman, P. Geography and Trade [M]. Cambridge: MIT Press,1991.
[21] Krugman, P. Rethinking International Trade [M]. Cambridge, MA: The MITPress,1990.
[22] Landry, C. Creative Cities. Creative Industries [M]. J. Hartley, BlackwellPublishing,2005:233-243.
[23] Lash, S. and J. Urry. Economies of Signs and Space [M]. London: Sage,1994.
[24] Lazzeretti, L.(Editor) Creative Industries and Innovation in Europe: Concepts,Measures and Comparative Case Studies [M]. London: Routledge,2012.
[25] Lubart, T. I. Creativity across cultures. Handbook of creativity [M]. R. J.Sternberg. Cambridge, Cambridge University Press,1999:339-350.
[26] McLUHAN, M. Understanding Media: Extensions of Man [M]. New York:New American Library,1964.
[27] Michael Porter. Competitive Strategy: Techniques for Analyzing Industries andCompetitors [M]. Free Press1edition,1998,112.
[28] Miles, M.B. and A. M. Huberman. Qualitative Data Analysis [M]. ThousandOaks, CA, Sage,1994.
[29] Morley D. and Robins K. Spaces of Identity: Global Media, ElectronicLandscapes, and Cultural Boundaries [M]. London: Routledge,1995.
[30] Mosco, V. The political economy of communication [M]. Thousand Oaks:Sage,1996.
[31] Mutlu Binark, Günseli Bayraktutan. Computer Games and New MediaCultures [M]. Netherlands: Springer,2012:371-391.
[32] Pope, R. Creativity: Theory, History, Practice [M]. London New York, London:Routledge, Taylor and Francis Group,2005.
[33] Porter, M. Local Clusters in a Global Economy. Creative Industries [M]. J.Hartley, Blackwell Publishing,2005:259-267.
[34] Price Water House Coopers. Entertainment Media Outlook:2003-2007(4thEdition)[M]. Price Water House Coopers,2003.
[35] Robertson, R. Globalization: Social Theory and Global Culture [M]. London:Sage,1992.
[36] Ryan, B. Making Capital from Culture: The Corporate Form of CapitalistCultural Production [M]. New York: Walter De Gruyter,1992.
[37] Samsel, J. and Fort, C. The Multimedia Directory (3rd Edition)[M]. LosAngeles: The Carronade Group,1995.
[38] Saxenian, A. Regional Advantage: Culture and Competition in Silicon Valleyand Route128[M]. Cambridge, MA: Harvard University Press,1994.
[39] Scott, A. J. On Hollywood: The Place, the Industry [M]. Princeton: PrincetonUniversity Press,2005.
[40] Scott, A.J. Rgions and the World Economy: The Coming Shape of GlobalProduction, Competition, and Political Order [M]. Oxford: Oxford UniversityPress,1998.
[41] Scott, A.J. The Cultural Economy of Cities: Essays on the Geography ofImage-producing Industries [M]. London: SAGE Publications Ltd,2000.
[42] Singhal, A.,&Rogers, E. Entertainment-Education: A CommunicationStrategy for Social Change [M]. Mahwah, NJ: Lawrence Erlbaum Publishers,1999.
[43] Soja, E. Postmodern Geographies [M]. London: Verso,1989.
[44] Soja, E. Thirdspace [M]. Oxford: Blackwell,1996.
[45] Stallabras, J. Gargantua: Manufactured Mass Culture [M]. London: Verso,1996.
[46] Sternberg, R. J. Handbook of creativity [M]. Cambridge, CambridgeUniversity Press,1999.
[47] Storper, M. Industrialization, Economic Development, and the RegionalQuestion in the Third World [M]. London：Pion,1991.
[48] Thompson, J. The Globalization of Communication. In D. Held and A.McGrew (eds.). The Global Transformations Reader (2nd Edition)[M].Cambridge: Polity Press,2003.
[49] Throsby, D. Economics and Culture [M]. Cambridge: Cambridge UniversityPress,2001.
[50] Trend, D. Cultural Democracy: Politics, Media, New technology, Albany [M].NY: State University of New York Press,1997.
[51] Yin, R. K. Case Study Research: Design and Methods [M] Thousand Oaks, CA,Sage,1994.
[52] Zook, M. The Geography of the Internet Industry: Venture Capital, Dotcoms,and Local Knowledge [M]. Oxford: Blackwell,2005.
[53] Zukin, S. The Culture of Cities [M]. Oxford: Blackwell,1995:271-273.
[1] Burama K. Strengthening Local Creative Industries and Developing CulturalCapacity for Poverty Alleviation [C]. Sixth Annual Conference17-20November2005Dakar, Senegal.
[2] Hongyuan Wang. Proceedings of the2nd International Conference on GreenCommunications and Networks2012(GCN2012) Volume2Lecture Notes inElectrical Engineering Volume224[C]. Berlin Heidelberg: Springer-Verlag,2013:13-19.
[1] Avril, J. Monica, N. The Creative Industries in South Africa [R]. CreativeIndustries Sector Report, prepare for the HSRC,15December2007.
[2] DCMS. Creative Britain: New Talents for the New Economy [R]. London:Department of Culture, Media and Sport,2008.
[3] MacDonald, G. The Emergence of Global Multi-Media Conglomerates,Geneva: International Labour Office [R]. Multinational EnterprisesProgramme, Working Paper, No.70,1990.
[4] RIAA. Annual Report [R]. New York: Recording Industry Association ofAmerica,1997.
[5] UNCTAD. Creative Economy Report2008[R]. Geneva: UNCTAD,2008.
[1] Allen J. Scott. Cultural-Products Industries and Urban Economic Development[J]. Urban Affairs Review,2004,39(4):461-490.
[2] Antonio García-Tabuenca, José Luis Crespo-Espert, Juan R. Cuadrado-Roura.Entrepreneurship, Creative Industries and Regional Dynamics in Spain [J]. TheAnnals of Regional Science,2011,47(3):659-687.
[3] Banks Mark. Craft Labour and Creative Industries [J]. International Journal ofCultural Policy,2010,16(3):305-321.
[4] Basset, K., Griffiths, R., Smith, I. Cultural industries, cultural clusters and thecity: The example of natural history film-making in Bristol [J]. Geoforum,2002,33:165-177.
[5] Bathelt, H., Malmberg, A. and Maskell, P. Clusters and knowledge: localbuzz，global pipelines and the process of knowledge creation [J].Progress inHuman Geography,2004,28(1):31-56.
[6] Bielby W T. Creative Industries (Book Review)[J]. American Journal ofSociology,2001,106(6):1830-1832.
[7] Bielby, D.D. and Bielby, W.T. Women and Men in Film: Gender Inequalityamong Writers in a Culture Industry [J]. Gender&Society,1996,10(3):248-265.
[8] Brown A, Justin O’Connor, Sara Cohen. Local Music Policies within a GlobalMusic Industry：Cultural Quarters in Manchester and Sheffield [J]. Geoforum,2000,31(4):437-451.
[9] Chris Gibson, Lily Kong. Cultural Economy: A Critical Review [J].Progress inHuman Geography,2005,29(5):541-561.
[10] Christian Barrère. Heritage as a basis for creativity in creative industries: thecase of taste industries [J]. Mind&Society,2013.
[11] Cinzia Colapinto, Colin Porlezza. Innovation in Creative Industries: from theQuadruple Helix Model to the Systems Theory [J]. Journal of the KnowledgeEconomy,2012,3(4):343-353.
[12] Clare, J. A., Mitchell, T. E. Bunting, Maria Piccioni. Visual artists:Counter-urbanites in the Canadian countryside?[J]. The Canadian Geographer,2004,48(2):152-167.
[13] Cohen J P, Catherine J. Morrison Paul. Agglomeration Economies and IndustryLocation Decisions: The Impacts of Spatial and Industrial Spillovers [J].Regional Science and Urban Economics,2005,35(3):215-237.
[14] Crewe L., Beaverstock, J. Fashioning the city: cultures of consumption incontemporary urban spaces [J]. Geoforum,1998,29(3):287-301.
[15] Cunningham, S. The Creative Industries after Cultural Policy: a Genealogyand Some Possible Preferred Futures [J]. International Journal of CulturalStudies,2004,7(1):105-115.
[16] Curtin, M. Media Capital: towards de Study of Spatial Flows [J]. InternationalJournal of Cultural Studies,2003,6(2):202-208.
[17] Dermody J. Management and Creativity–From Creative Industries toCreative Management [J]. International Journal of Advertising,2007,26(3):407-408.
[18] Deuze M. Convergence Culture in the Creative Industries [J]. InternationalJournal of Cultural Studies,2007,10(2):243-263.
[19] Diane P. The new Economy and the work-life balance: ConceptualExplorations and a Case Study of New Media [J].Gender, Work andOrganization,2003,10(1):65-93.
[20] Drake, G. This Place Gives me Space: Place and Creativity in the CreativeIndustries [J]. Geoforum,2003(34):511-524.
[21] Ellison G, Glaeser E. Geographic Concentration in US ManufacturingIndustries: A Dartboard Approach [J]. Journal of Political Economy,1997,105(5):889-927.
[22] Emily Pacey. GLA Report on Creative Industries Overlooks Design [J]. DesignWeek,2007,22(40):7-7.
[23] Ettlinger, N. Cultural Economic Geography and A Relational and MicrospaceApproach to Trusts, Rationalities, Networks, and Change in CollaborativeWorkplaces [J]. Journal of Economic Geography,2003,3(2):145-172.
[24] Freeman C. Network of Innovators a Synthesis of Research Issues [J].Research Policy,1991,27:209-228.
[25] Gabszewicz J J, J-F Thisse. Entry (and Exit) in a Differentiated Industry [J].Journal of Economic Theory,1980:22(2):327-338.
[26] Garnham, N. From Cultural to Creative Industries: An Analysis of theImplications of the ‘Creative Industries’ Approach to Arts and Media PolicyMaking in the United Kingdom [J]. International Journal of Cultural Policy,2005,11(1):15-29.
[27] Gertler, M. Best practice? Geography, learning and institutional limits tostrong convergence [J]. The Journal of Economic Geography,2001,1(1):5-26.
[28] Gertler, M. S. Tacit Knowledge and the Economic Geography of Context, orthe Undefinable Essence of Being (There)[J]. Journal of Economic Geography,2003,3(1):75-99.
[29] Gibson C.Cultures at work: Why ‘culture’ matters in research on the ‘cultural’industries [J]. Social&Cultural Geography,2003,4(2):201-215.
[30] Gibson, C, Murphy, P., Freestone, R. Employment and social-spatial relationsin Australia’s cultural economy [J]. Australian Geographer,2002,33(2):173-189.
[31] Gibson, C., Kong, L. Cultural economy: A critical review. Progress in HumanGeography,2005,29(5):541-561.
[32] Glen N, Olivero R. New Geographies of Comic Book Production in NorthAmerica: The New Artisan, Distancing and the Periodic Social Economy [J].Economic Geography,2003,79(3):241-263.
[33] Grabher, G. Ecologies of Creativity: the Village, the Group, and theHeterarchic Organisation of the British Advertising Industry[J]. Environmentand Planning A,2001,33(2):351-374.
[34] Grabher, G. Learning in projects. remembering in networks? Communality,sociality, and connectivity in project ecologies [J].European Urban andRegional Studies.2004,11(2):99-119.
[35] Grabher, G. Locating economic action: projects, networks, localities, institutes[J]. Environment and Planning,2001(33):1329-1334.
[36] Graham Drake.‘This Place Gives me Space’: Place and Creativity in theCreative Industries [J]. Geoforum,2003,34(4):511-524．
[37] Granovetter, M. Economic Action and Social Structure: The Problem ofEmbedded ness [J]. American Journal of Sociology,1985(91):481-510.
[38] Greg, R. Julie W. Developing creativity in tourist experiences: A solution tothe serial reproduction of culture?[J]. Tourism Management,2006,(27):1209-1223.
[39] Hakimi S L. Optimum Location of Switching Centers and the AbsoluteCenters and Medians of a Graph [J]. Operations and Research,1964,12(3):450-459.
[40] Hall, P. Creative Cities and Economic Development [J]. Urban Studies,2000,37(4):639-649.
[41] Hans Mommaas. Cultural Clusters and the Post-industrial City: Towards theRemapping of Urban Cultural Policy [J]．Urban Studies,2004，41(3):507–532．
[42] Henry Etzkowitz, Magnus Klofsten. The innovating region: toward a theory ofknowledge-based regional development [J]. Research and Development,2005,35(3):243-255.
[43] Hesmondhalgh, D. and Pratt, A. Cultural Industries and Cultural Policy [J].International Journal of Cultural Policy,2005,11(1):1-13.
[44] Hesmondhalgh, D. Media and Cultural Policy as Public Policy [J].International Journal of Cultural Policy,2005,11(1):95-109.
[45] Irma Booyens. Creative Industries, Inequality and Social Development:Developments, Impacts and Challenges in Cape Town [J]. Urban Forum,2012,23(1):43-60.
[46] Jackson, P. Commercial cultures: Transcending the cultural and the economic[J]. Progress in Human Geography,2002,26(1):3-18.
[47] Kong, L. The sociality of cultural industries [J]. International Journal ofCultural Policy,2005,11(1):61-76.
[48] Kristensen, T. The physical context of creativity [J].Creativity and InnovationManagement,2004,13(12):89-96.
[49] Lawrence, T. B., Philips, N. Understanding cultural industries [J]. Journal ofManagement Inquiry,2002,11(4):430-441.
[50] Lee, T. Creative Shifts and Directions: Cultural Policy in Singapore[J].International Journal of Cultural Policy,2004,10(3).
[51] Markusen, A, Gregory, H. W., Doug, D., et al. Defining the creative economy:Industry and occupational approaches [J]. Economic Development Quarterly,2008,22(1):24-45.
[52] Martin, R., Sunley, P. Deconstructing clusters: chaotic concept of policypanacea [J]. Journal of Economic Geography,2003,3(1):5-35.
[53] O’Connor, J. A New Modernity? The Arrival of “Creative Industries” in China[J]. International Journal of Cultural Policy,2006,9(3):271-283.
[54] O’Connor, J. Art, Popular Culture and Cultural Policy: Variations on a Themeof John Carey[J]. Critical Quarterly,2006,48(4):49-104.
[55] Oakley, K. Include Us Out: Economic Development and Social Policy in theCreative Industries [J]. Cultural Trends,2006,15(4):255-273.
[56] Oakley, K. Not so Cool Britannia: the Role of the Creative Industries inEconomic Development [J]. International Journal of Cultural Studies,2004,7(1):67-77.
[57] Paul Stoneman. Jason Potts (2011): Creative industries and economicevolution [J]. Journal of Cultural Economics,2012.
[58] Peck, J. Struggling with the creative class [J]. International Journal of Urbanand Regional Research,2005,29(4):740-770.
[59] Porter, M. Clusters and the New Economics of Competition [J]. HarvardBusiness Review,1998(76):77-91.
[60] Porter, M.E. Location, Competition and Economic Development: LocalClusters in a Global Economy [J]. Economic Development Quarterly,2000,14(1):15-34.
[61] Potts Jason D., Cunningham Stuart D. Four models of the creative industries[J]. International Journal of Cultural Policy,2008,14(3):233-247.
[62] Potts, J., Cunningham, S., Hartley, J. and Ormerod, P. Social network markets:a new definition of the creative industries [J].Journal of Cultural Economy,2008(32):167-185.
[63] Power, D.“Cultural Industries” in Sweden: An Assessment of their Place in theSwedish Economy [J]. Economic Geography,2002(2):103-127.
[64] Pratt, A. C. The cultural industries production system: A case study ofemployment change in Britain,1984-91[J]. Environment and Planning,1997(29):1953-1974.
[65] Pratt, A. New Media, the New Economy and New Spaces [J]. Geoforum,2000(31):425-436.
[66] Richards, G. Creativity: A New Strategic Resource for Tourism [J].International Journal of Cultural Policy,2005(9):32-43.
[67] Roberta Piergiovanni, Martin A. Carree, Enrico Santarelli. Creative industries,new business formation, and regional economic growth [J]. Small BusinessEconomics,2012,39(3):539-560.
[68] Rosen, S. The Economics of Superstars [J].American Economic Review,1981,71(5):845-858.
[69] Scott, A. J, Capitalism, cities, and the production of symbolic forms [J].Transactions of the Institute of British Geographers,2001,26(1):11-23.
[70] Scott, A.J. Cultural Products Industries and Urban Economic Development:Prospects for Growth and Market Contestation in Global Context [J]. UrbanAffairs Review,2004,39(4):461-490.
[71] Scott, A.J. Entrepreneurship, Innovation and Industrial Development:Geography and the Creative Field Revisited[J]. Small Business Economics,2006,26(1):1-24.
[72] Scott, A.J. The Cultural Economy of Cities [J]. International Journal of Urbanand Regional Research,1997(21):323-339.
[73] Stefan Seidel. Toward a theory of managing creativity-intensive processes: acreative industries study [J]. Information Systems and e-Business Management,2011,9(4):407-446.
[74] Straubhaar, J. Beyond Media Imperialism: Asymmetrical Interdependence andCultural Proximity [J]. Critical Studies in Mass Communication,1991,8:39-59.
[75] Stuart Cunningham. Paul Stoneman: Soft innovation: economics, productaesthetics and creative industries [J]. Journal of Cultural Economics,2011,35(3):241-245.
[76] Throsby, D. Cultural Capital [J]. Journal of Cultural Economics,1999,23:3-12.
[77] Throsby, D. The Production and Consumption of the Arts: a View of CulturalEconomics [J]. Journal of Economic Literature,1994,32:1-29.
[78] Towse, R.Creativity, Copyright and the Creative Industries Paradigm [J].KYKLOS,2010,63(3):461-478.
[79] Uricchio, W. Beyond the Great Divide: Collaborative Networks and theChallenge to Dominant [J]. Conceptions of Creative Industries,2004,7(1):79-90.
[80] Wise, P. Cultural Policy and Multiplicities [J]. International Journal of CulturalPolicy,2002,8(2):221-231.
[81] Wood, P. Taylor, C. Big Ideas for a Small Town: The Huddersfield CreativeTown Initiative [J]. Comedia Local Economy,2004,19(4):380-395.
[82] Yue, A. The Regional Culture of New Asia: Cultural Governance and CreativeIndustry in Singapore [J].International Journal of Cultural Policy,2006,12(1).
[1] Wu, W. Dynamic Cities and Creative Clusters [Z].World Bank Policy ResearchWorking Paper3509, Washington DC,2005.
[1] DCMS[EB/OL].http://www.culture.gov.uk/about_us/creative_industries/default.aspx.
[2] QUT. Creative Industries [EB/OL]. http://www.creativeindustries.qut.edu.au.
[2]阿瑟·米勒、迈尔克·戴维斯著，周林等译.知识产权法概要[M].中国社会科学出版社，1998.
[3]艾伦·J·斯科特著，董树宝，张宁译.城市文化经济学[M].北京：中国人民大学出版社，2010.
[4]爱伦·艾尔巴兰等著，陈鹏译.传媒经济学[M].北京:中国传媒大学出版社，2009.
[5]爱伦·艾尔巴兰等著，王越译.全球传媒经济[M].北京:中国传媒大学出版社，2007.
[6]陈慧颖，陈本昌，徐海峰.文化创意产业发展的经济学研究[M].北京：经济科学出版社，2012.
[7]大卫·赫斯蒙德夫著，张菲娜译.文化产业[M].北京：中国人民大学出版社，2007.
[8]宫承波，翁立伟.新媒体产业论[M].北京：中国广播电视出版社，2010.
[9]宫承波，闫玉刚.文化创意产业总论[M].北京：中国广播电视出版社，2008.
[10]郭梅君.创意转型——创意产业发展与中国经济转型的互动研究[M].北京：中国经济出版社，2011.
[11]胡惠林.文化产业学[M].北京：高等教育出版社，2006.
[12]花建等.文化产业的集聚发展：从创意集群到文化空间[M].上海：上海人民出版社，2011.
[13]花建等.文化产业竞争力[M].广州：广东人民出版社，2005.
[14]霍克海默和阿多诺著，渠敬东，曹卫东译.启蒙辩证法[M].上海：上海人民出版社，2003.
[15]吉莉安·道尔著，李颖译.理解传媒经济学[M].北京：清华大学出版社，2004.
[16]姜毅然，张婉茹，王海澜.以市场为导向的日本文化创意产业[M].北京：人民出版社，2009.
[17]蒋三庚，张杰，王晓红.文化创意产业集群研究[M].北京：首都经济贸易大学出版社，2010.
[18]金碚.竞争力经济学[M].广州：广东经济出版社，2003.
[19]金冠军，王玉明.电影产业概论[M].上海：复旦大学出版社，2012.
[20]金元浦.文化创意产业概论[M].北京：高等教育出版社，2010.
[21]考林·霍斯金斯、斯图亚特·迈克法蒂耶、亚当·费恩著，刘丰海等译.全球电视和电影：产业经济学导论[M].北京：新华出版社，2004.
[22]柯林·霍斯金斯，斯图亚特·麦克法蒂耶，亚当·费恩著，支庭荣，吴非译.媒介经济学：经济学在新媒介与传统媒介中的应用[M].广州：暨南大学出版社，2005.
[23]理查德·E.凯夫斯著，孙绯等译.创意产业经济学——艺术的商业之道[M].新华出版社，2004.
[24]厉无畏，王慧敏.创意产业新论[M].上海：东方出版中心，2009.
[25]厉无畏.创意改变中国[M].北京：新华出版社，2009.
[26]利特曼著，尹鸿等译.大电影产业[M].北京：清华大学出版社，2005.
[27]林秀梅.多元统计方法[M].长春：吉林人民出版社，1996.
[28]刘泓，袁勇麟.文化创意产业十五讲[M].成都：四川大学出版社，2012.
[29]柳旭波.传媒业产业组织研究[M].北京：经济科学出版社，2007.
[30]洛朗·克勒通著，刘云舟译.电影经济学[M].北京：中国电影出版社，2008.
[31]吕学武，范周.文化创意产业前沿——见证：使命与方向[M].北京：中国传媒大学出版社，2007.
[32]马歇尔.经济学原理[M].北京：商务印书馆，1991.
[33]迈克尔·波特著，李明轩，邱如美译.国家竞争优势[M].北京：华夏出版社，2002.
[34]麦克卢汉著，何道宽译.理解媒介[M].北京：商务印书馆，2000.
[35]帕夫利克著，周勇，张平锋，景刚译.新媒体技术：文化和商业前景[M].北京：清华大学出版社，2005.
[36]萨缪·鲍尔斯著，江艇等译.微观经济学：行为，制度和演化[M].北京：中国人民大学出版社，2007.
[37]石磊.新媒体概论[M].北京：中国传媒大学出版社，2009.
[38]泰勒·考恩著，王志毅译，创造性破坏：全球化与文化多样性[M].上海：上海人民出版社，2007.
[39]唐·沃德曼，伊丽莎白·詹森，李宝伟等译.产业组织理论与实践[M].北京：机械工业出版社，2009.
[40]藤田昌久，保罗·克鲁格曼，安东尼·维纳布尔斯.空间经济学：城市、区域与国际贸易[M].北京：中国人民大学出版社，2013.
[41]藤田昌久，雅克-弗朗科斯·蒂斯.集聚经济学:城市产业区位与区域增长[M].成都：西南财经大学出版社，2004.
[42]瓦尔特·本雅明著，王才勇译.机械复制时代的艺术作品[M].北京：中国城市出版社，2002.
[43]魏后凯.市场竞争、经济绩效与产业集中——对中国制造业集中与市场结构的实证研究[M].北京：经济管理出版社，2003.
[44]魏后凯等著.中国产业集聚与集群发展战略[M].北京：经济管理出版社，2008.
[45]吴存东，吴琼.文化创意产业概论[M].北京：中国经济出版社，2010.
[46]向勇，刘静.中国文化创意产业园区实践与观察[M].北京：红旗出版社，2012.
[47]肖雁飞，廖双红.创意产业区：新经济空间集群创新演进机理研究[M].北京：中国经济出版社，2011.
[48]谢伦灿.文化娱乐产业的评价与发展[M].北京：中国经济出版社，2009.
[49]熊澄宇.世界文化产业研究[M].北京：清华大学出版社，2012.
[50]徐丹丹.北京文化创意产业发展的金融支持研究[M].北京：经济科学出版社，2011.
[51]杨公朴.产业经济学[M].上海：复旦大学出版社，2005.
[52]殷俊.新媒体产业导论——基于数字时代的媒体产业[M].成都：四川大学出版社，2009.
[53]于启武，蒋三庚.北京CBD文化创意产业发展研究[M].北京：首都经济贸易大学出版社，2008.
[54]约翰哈特利编著，曹书乐等译.创意产业读本[M].北京：清华大学出版社，2007.
[55]詹姆斯·海尔布伦，查尔斯·格雷著，詹正茂等译.艺术文化经济学[M].北京：中国人民大学出版社，2007.
[56]张京成，李岱松，刘利永.文化创意产业集群发展理论与实践[M].北京：科学出版社，2011.
[57]张静静.文化创意产业的知识产权价值评估[M].北京：经济科学出版社，2011.
[58]赵锐.创意产业的知识产权保护研究[M].北京：知识产权出版社，2012.
[59]中野晴行著，甄西译.动漫创意产业论[M].北京：中国传媒大学出版社，2007.
[1]国家广播电影电视总局发展研究中心.中国视听新媒体发展报告（2011）[R].北京：社会科学文献出版社，2011.
[2]姚林青.文化创意产业集聚与发展：北京地区研究报告[R].北京：中国传媒大学出版社，2013.
[3]张京成，王国华.创意城市蓝皮书：北京文化创意产业发展报告[R].北京：社会科学文献出版社，2012.
[4]中国社会科学院新闻与传播研究所.中国新媒体发展报告（2011）[R].北京：社会科学文献出版社，2011.
[1]褚劲风.上海创意产业集聚空间组织研究[D].上海：华东师范大学，2008.
[2]高宏宇.文化及创意产业与城市发展[D].上海：同济大学，2007.
[3]华振.东北地区建设区域绿色创新体系的研究[D].哈尔滨：哈尔滨商业大学，2012.
[4]刘恒军.网络型产业动态竞争理论研究[D].北京：北京邮电大学，2008.
[5]王伟年.城市文化产业区位因素及地域组织研究[D].长春：东北师范大学，2007.
[6]徐光瑞.我国高技术产业竞争力研究[D].长春：吉林大学，2011.
[1]鲍枫，沈颂东，王以宁.我国新媒体产业分析及发展策略研究——基于产业组织理论SCP范式分析[J].当代传播，2012(2):64-66.
[2]鲍枫，沈颂东.文化创意产业竞争力评价及其与集聚水平的关系分析[J].当代传播，2013(1):84-86.
[3]鲍枫，王以宁.英国高校数字媒体人才培养模式研究及其启示[J].外国教育研究，2011(12):44-49.
[4]鲍枫.高校影视艺术专业开展双语教学的思考[J].吉林工程技术师范学院学报，2011(8):51-53.
[5]北京市社会科学院《北京文化创意产业发展研究》课题组.北京文化创意产业的发展定位[J].北京社会科学，2007(4):19-22.
[6]北京市社会科学院《北京文化创意产业发展研究》课题组.北京文化创意产业国际化战略研究[J].北京社会科学，2006(6):18-22
[7]卜希霆，李伟.创意的聚合与辐射——高校文化创意产业孵化器研究[J].现代传播，2009(4):105-107.
[8]蔡赴朝.北京发展文化创意产业的实践与思考[J].求是杂志，2007(22):44-45.
[9]蔡荣生，王勇.国内外发展文化创意产业的政策研究[J].中国软科学，2009(8):77-84.
[10]曹海峰.文化创意产业的时代审视[J].长白学刊，2007(3):143-147.
[11]车吉心，葛玉莹.金融危机与文化创意产业[J].山东社会科学，2010(1):74-76.
[12]陈海宁.中国文化创意产业的演化机制与发展对策[J].江苏大学学报（社会科学版），2009,11(6):85-88.
[13]陈美霞.福建文化创意产业的SWOT分析[J].福建论坛（人文社会科学版），2010(2):29-34.
[14]陈清华.文化创意产业知识溢出效应研究[J].南京社会科学，2010(5):34-38.
[15]陈亚民.文化创意产业发展与区域产业结构升级[J].商业研究，2011(2):112-116.
[16]程坚军.对我国文化创意产业发展及人才培养的思考——以英国文化创意产业发展为例[J].中国广播电视学刊，2010(7):62-64.
[17]邓丽姝.文化创意产业的高端化发展[J].湖北社会科学，2010(7):80-83.
[18]杜继勇.关于河北省文化创意产业发展策略的思考[J].特区经济，2011(4):69-70.
[19]范桂玉.北京市文化创意产业集群发展机制研究[J].特区经济，2009(10):84-86.
[20]方立峰，王颖晖.文化产业生态位内涵与空间格局构建研究[J].山东社会科学，2011(12):53-56.
[21]傅才武，江海全.文化创意产业在“两型社会”建设中的功能作用与价值定位[J].中国地质大学学报（社会科学版），2009,9(4):17-24.
[22]高红岩.文化创意产业的政策创新内涵研究[J].中国软科学，2010(6):80-86,105.
[23]辜胜阻，王敏，刘波.发展文化创意产业推动我国经济转型[J].科技进步与对策，2010,27(6):44-49.
[24]辜胜阻.金融是使文化创意产业成为支柱的引擎[J].中国流通经济，2011(1):8-10.
[25]顾作义，严永树.发展文化创意产业提高文化创造力——广东发展文化创意产业的启示[J].广东社会科学，2010(1):13-20.
[26]胡晓鹏.基于资本属性的文化创意产业研究[J].中国工业经济，2006(12):5-12.
[27]胡宇辰.产业集群效应的经济学分析[J].当代财经，2004(11):76-80.
[28]华正伟.文化创意产业集群空间效应探析[J].生产力研究，2011(2):9-10.
[29]黄娟.文化创意产业聚集区形成机制实证分析[J].商业时代，2010(29):122-123.
[30]蒋三庚.中央商务区文化创意产业集群发展类型与特点[J].经济与管理研究，2009(3):85-88.
[31]金碚.产业国际竞争力研究[J].经济研究，1996(11):39-44,59.
[32]金碚.高技术在中国产业发展中的地位和作用[J].中国工业经济，2003(12):5-10.
[33]金碚.经济学对竞争力的解释[J].经济管理·新管理，2002(22):4-12.
[34]康芸.风险投资进入文化创意产业问题研究[J].科学学与科学技术管理，2010(8):168-171.
[35]李蕾蕾，胡莹.文化创意产业中的知识与学习及其对教育的启示[J].深圳大学学报（人文社会科学版），2009,26(6):139-143.
[36]李蕾蕾.文化创意产业集群的概念误区与研究趋势[J].深圳大学学报（人文社会科学版），2009(26):66-67
[37]李新安.文化资源向文化创意产业转化的支撑因子分析[J].经济经纬，2010(4):35-39.
[38]李艳杰.文化创意产业集群与金融支持[J].特区经济，2010(3):266-267.
[39]厉无畏，于雪梅.关于上海文化创意产业基地发展的思考[J].上海经济研究，2005(8):48-53.
[40]厉无畏.文化创意产业的投融资与风险控制[J].毛泽东邓小平理论研究，2011(2):1-5.
[41]林秀梅，徐光瑞.我国高技术产业竞争力省际比较[J].当代经济研究，2010(5):20-24.
[42]刘冰峰.文化创意产业组织演化的动力机制研究[J].商业时代，2011(13):120-121.
[43]刘江涛，张波.关注文化创意产业[J].经济问题探索，2006(10):36-40.
[44]刘飒，王强.北京市文化创意产业发展实证研究[J].经济管理，2009(2):42-48.
[45]刘学文，王铁军，鲍枫.文化创意产业与中国设计教育[J].文艺争鸣，2012(10).
[46]刘轶.我国文化创意产业研究范式的分野及反思[J].现代传播，2007(1):108-111,116.
[47]路光前.科技创新与科技园区文化创意产业发展[J].西北大学学报（自然科学版），2009,39(5):865-869.
[48]罗宏斌，雷志远.“两型”视角下我国文化创意产业发展的创新思路[J].学术论坛，2009(11):85-88.
[49]罗勇，曹丽莉.中国制造业集聚程度变动趋势实证研究[J].经济研究，2005(8):106-115,127.
[50]马建丽，徐轶瑛.北京文化创意产业集群发展的主体行为分析[J].现代传播，2010(3):155-156.
[51]彭坚，敖琴.江西文化创意产业发展对策研究[J].特区经济，2010(6):173-174.
[52]邵培樟.浙江文化创意产业知识产权创新与保护机制研究[J].特区经济，2010(8):57-59.
[53]石长顺，景义新.中国文化创意产业研究的偏颇与平衡——基于中国期刊全文数据库文献的量化分析[J].河南社会科学，2011,19(3):160-165.
[54]史征.文化创意产业发展指数的框架设计[J].统计与决策，2010(7):32-34.
[55]宋泓明.文化创意产业集群发展研究——以北京市朝阳区为例的分析[J].上海经济研究，2007(12):118-122.
[56]苏卉.文化创意产业集群中的政府行为研究[J].科技管理研究，2010(17):217-219,258.
[57]覃京燕，刘新，张盈盈.可持续设计与文化创意产业发展的关系研究[J].现代传播，2011(5):165-166.
[58]佟贺丰.英国文化创意产业发展概况及其启示[J].科技与管理，2005,(1):29-31.
[59]童冬生，江旺龙，于芳，方文龙.基于三螺旋改进模型的创意产业人才培养研究——以景德镇陶瓷文化创意产业为例[J].科技管理研究，2010(9):151-152,171.
[60]涂妍，陈文福.古典区位论到新古典区位论：一个综述[J].河南师范大学学报(哲学社会科学版)，2003,(5):38-42.
[61]王飞鹏.文化创意产业人才的开发与培育研究[J].人口与经济，2009(5):41-45.
[62]王海燕.武汉城市圈文化创意产业知识产权战略分析[J].科技进步与对策，2011,28(11):59-62.
[63]王晖.北京市与纽约市文化创意产业集聚区比较研究[J].北京社会科学，2010(6):34-39.
[64]王缉慈，童听.简论我国地方企业集群的研究意义[J].经济地理，2001,(5):550-553.
[65]王琳.我国创意产业发展的现状、问题与对策[J].理论探索，2007,(5):59-62.
[66]王琳.滨海新区文化创意产业发展战略研究[J].国家行政学院学报，2010(4):74-78.
[67]王鹏.香港文化创意产业的发展及其启示[J].亚太经济，2007(6):82-86
[68]王鹏.香港文化创意产业发展对我国内地的启示[J].价格月刊，2007(4):40-42.
[69]王如忠.上海文化创意产业发展的战略思路与对策研究[J].上海经济研究，2007(10):76-83.
[70]王旺兴，李艳.产业集群内的知识流动和创新机制[J].科技与管理，2003,(3):42-44.
[71]王晓芳，谢金静.SCP范式的拓展及其在我国IPO市场中的应用[J].华东经济管理，2009(1):35-39.
[72]王宇红，张晓玲.陕西文化创意产业知识产权保护现状、问题和对策研究[J].科技管理研究，2009(8):555-558
[73]王振如，钱静.北京都市农业、生态旅游和文化创意产业融合模式探析[J].农业经济问题，2009(8):14-18.
[74]王子龙，谭清美，许箫迪.高技术产业集聚水平测度方法及实证研究[J].科学学研究，2006(5):706-714.
[75]魏后凯.对产业集群与竞争力关系的考察[J].经济管理，2003(6):4-11.
[76]魏后凯.中国制造业集中状况及其国际比较[J].中国工业经济，2002(1):41-49.
[77]魏江.小企业集群创新网络的知识溢出效应[J].科研管理，2003,(7):54-60.
[78]魏鹏举，杨青山.文化创意产业集聚区的管理模式分析[J].中国行政管理，2010(1):81-83.
[79]魏权龄，卢刚，蒋一清，盛景烨.DEA方法在企业经济效益评价中的应用[J].统计研究，1990(2):58-62.
[80]魏权龄.数据包络分析(DEA)[J].科学通报，2000,45(17):1793-1808.
[81]魏守华，石碧华.集群竞争力的动力机制以及实证分析[J].中国工业经济，2002,(1):59-65.
[82]文化创意产业与城市服务业竞争力:基于全球城市数据的实证研究[J].宁夏社会科学，2011(1):39-43.
[83]吴德进.产业集群的组织性质：属性与内涵[J].中国工业经济，2004,(7):14-20.
[84]吴俐萍.创意产业发展的政策支撑体系研究[J].科技法制与政策研究，2006,(11):21-24.
[85]吴锡俊.文化创意产业发展中的政府职能转变与政策取向研究[J].现代传播，2011(2):142-143.
[86]吴向鹏.产业集群：一个文献综述[J].当代财经，2003,(9):105-108.
[87]吴晓波.企业集群技术创新环境与主要模式研究[J].研究与发展管理，2003,(4):46-49.
[88]奚建华.从文化产业到文化创意产业：现实走向与逻辑路径[J].浙江学刊，2007(6):192-194.
[89]夏春秋.发展文化创意产业的哲学思考[J].求索，2006(10):134-136.
[90]肖永亮，姜振宇.创意城市和创意指数研究[J].同济大学学报（社会科学版），2010,21(3):49-57.
[91]谢润邦，戴盛.城市发展与产业集群形态的变迁[J].财经理论与实践，2005,(6):94-96.
[92]刑华.文化创意产业价值链整合及其发展路径探析[J].经济管理，2009(2):37-41.
[93]熊澄宇.英国创意产业发展的启示[J].求是，2012(7):60-62.
[94]徐丹丹，孟潇，卫倩倩.文化创意产业发展的文献综述[J].云南财经大学学报，2011(2):105-113.
[95]徐光瑞.中国高技术产业集聚与产业竞争力——基于5大行业的灰色关联分析[J].中国科技论坛，2010(8):47-52.
[96]徐信贵，陈伯礼.台湾文化创意产业的政策推动与法制构造[J].亚太经济，2010(5):130-134.
[97]徐循华，臧正美.论江苏文化创意产业的发展[J].艺术百家，2006(7):145-146.
[98]徐延.文化创意产业概念辨析[J].当代传播，2007(4):84-86.
[99]姚东旭.文化创意产业的界定及其意义[J].商业时代，2007(8):95-96.
[100]叶建亮.知识溢出与企业集群[J].经济科学，2001,(3):23-30.
[101]张潮.试析文化创意产业兴起的历史必然[J].湖北社会科学，2010(2):54-56.
[102]张辉.产业集群竞争力的内在经济机理[J].中国软科学，2003,(1):70-74.
[103]张济荣，张梦岩.文化创意产业发展对就业增长贡献分析——以北京市为例[J].现代传播，2011(5):144-145.
[104]张杰.北京CBD功能区文化创意产业集群成因研究[J].中国商贸，2010(6):216-217.
[105]张洁.中国文化创意产业的空间分布和地区绩效分析[J].商业经济与管理，2011(2):64-70.
[106]张立.文化创意产业格局下的工业设计思考[J].科技进步与对策,2007,24(8):79-81.
[107]张梅青，张蕾.文化创意产业与社区交融互动模式研究——借鉴台湾社区营造实例[J].山西财经大学学报，2010,32(2):151-152.
[108]张世君.论我国文化创意产业法律保护体系之构建[J].法学杂志，2011(1):42-44.
[109]张炜，姚海棠.试析北京市文化创意产业的影响因素分析[J].北京社会科学，2011(3):20-25.
[110]张雅丽，汪遵瑛.英国、美国等国外创意产业对我国的启示[J].兰州学刊，2010(1):68-71.
[111]张振鹏，马力.文化创意产业集群形成机理探讨[J].经济体制改革，2011(2):176-180.
[112]赵继敏，刘卫东.文化创意产业的地理学研究进展[J].地理科学进展，2009(4):503-510.
[113]赵瑾璐，潘志恒.浅析北京文化创意产业的发展[J].中国特色社会主义研究，2007(2):79-83.
[114]赵静超，司若.媒介融合与文化创意产业价值链的延展[J].电视研究，2010(6):13-15.
[115]钟德友.重庆市文化创意产业园区发展的制约因素与解决对策探讨[J].探索，2010(2)：10-13.
[116]周国林.基于产业升级视角的文化创意产业发展策略[J].湖北社会科学，2010(5):93-96.
[117]周哲.试论当前文化创意产业发展的三要务[J].现代传播，2010(10):156-157.
[118]朱慧，王垚鑫.基于城市面板数据的文化创意产业集聚效应研究[J].商业时代，2010(18):121-123.
[119]朱悦龙.文化产业基本理论探析[J].中国矿业大学学报(社会科学版)，2005,(4):125-129.
[120]庄琦春.文化创意产业专业规划与区域发展研究[J].北京工商大学学报(社会科学版)，2011,26(2):118-121.
[1] Bell, D. The Cultural Contradictions of Capitalism (20th ed.)[M]. New York:Basic Books,1976.
[2] Bilton, C. Management and Creativity: From Creative Industries to CreativeManagement [M]. Wiley-Blackwell,2006.
[3] Caves, R. Creative Industries: Contracts between Art and Commerce [M].Massachusetts: Harvard University Press,2002.
[4] Cowen,T. In Praise of Commercial Culture [M]. Cambridge, MA: HarvardUniversity Press,1998.
[5] Davies R.&Sigthorsson G. Introducing the Creative Industries: From Theoryto Practice [M]. London: Sage,2013.
[6] Dieter Puchta, Friedrich Schneider, Stefan Haigner, Florian Wakolbinger,Stefan Jenewein. The Berlin Creative Industries: An Empirical Analysis ofFuture Key Industries [M].Wiesbaden: Gabler Verlag,2010:23-30,41-52.
[7] Dubinskas, F.A. Culture and Conflict: The Cultural Roots of Discord. HiddenConflict in Organizations. D. M. Kolb and J. Bartunek [M]. Newbury Park,CA, Sage,1992.
[8] Faulkner, R.R. Music on Demand: Composers and Careers in the HollywoodFilm Industry [M]. New Brunswick, NJ, Transaction Books,1983.
[9] Flew, T. Creative Industries and Urban Development: Creative Cities in the21st Century [M]. Routledge,2012.
[10] Flew, T. The Creative Industries: Culture and Policy [M]. London: Sage,2011.
[11] Florida, R. The rise of the creative class [M]. New York: Basic Books,2002.
[12] Hartley, J (ed.). Creative Industries[M]. Oxford: Blackwell,2005.
[13] Harvey, D. Spaces of Capital: towards a Critical Geography [M]. Edinburgh:Edinburgh University Press,2001.
[14] Hesmondhalgh, D. and Baker S. Creative Labour: Media Work in ThreeCultural Industries (Culture, Economy and the Social)[M]. London: Routledge,2011.
[15] Hesmondhalgh, D. The Cultural Industries (2nd Edition)[M]. London: Sage,2007.
[16] Higgs, P. Cunningham, S., Bakhshi, H. Beyond the Creative: The CreativeEconomy in the United Kingdom [M]. London: NESTA,2008.
[17] Howkins, J. The Creative Economy: How People Make Money from Ideas [M].London: The Penguin Press,2001:264.
[18] Howkins, J. The Mayor's Commission on the Creative Industries [M]. CreativeIndustries. J. Hartley, Blackwell Publishing,2005:117-125.
[19] Jones, C. Careers in Project Networks: The Case of Film Industry. TheBoundaryless Career New Employment Principle for a New Organization Era.M.B. Arthur and D. M. Rousseau [M]. New York, Oxford University Press,1996.
[20] Krugman, P. Geography and Trade [M]. Cambridge: MIT Press,1991.
[21] Krugman, P. Rethinking International Trade [M]. Cambridge, MA: The MITPress,1990.
[22] Landry, C. Creative Cities. Creative Industries [M]. J. Hartley, BlackwellPublishing,2005:233-243.
[23] Lash, S. and J. Urry. Economies of Signs and Space [M]. London: Sage,1994.
[24] Lazzeretti, L.(Editor) Creative Industries and Innovation in Europe: Concepts,Measures and Comparative Case Studies [M]. London: Routledge,2012.
[25] Lubart, T. I. Creativity across cultures. Handbook of creativity [M]. R. J.Sternberg. Cambridge, Cambridge University Press,1999:339-350.
[26] McLUHAN, M. Understanding Media: Extensions of Man [M]. New York:New American Library,1964.
[27] Michael Porter. Competitive Strategy: Techniques for Analyzing Industries andCompetitors [M]. Free Press1edition,1998,112.
[28] Miles, M.B. and A. M. Huberman. Qualitative Data Analysis [M]. ThousandOaks, CA, Sage,1994.
[29] Morley D. and Robins K. Spaces of Identity: Global Media, ElectronicLandscapes, and Cultural Boundaries [M]. London: Routledge,1995.
[30] Mosco, V. The political economy of communication [M]. Thousand Oaks:Sage,1996.
[31] Mutlu Binark, Günseli Bayraktutan. Computer Games and New MediaCultures [M]. Netherlands: Springer,2012:371-391.
[32] Pope, R. Creativity: Theory, History, Practice [M]. London New York, London:Routledge, Taylor and Francis Group,2005.
[33] Porter, M. Local Clusters in a Global Economy. Creative Industries [M]. J.Hartley, Blackwell Publishing,2005:259-267.
[34] Price Water House Coopers. Entertainment Media Outlook:2003-2007(4thEdition)[M]. Price Water House Coopers,2003.
[35] Robertson, R. Globalization: Social Theory and Global Culture [M]. London:Sage,1992.
[36] Ryan, B. Making Capital from Culture: The Corporate Form of CapitalistCultural Production [M]. New York: Walter De Gruyter,1992.
[37] Samsel, J. and Fort, C. The Multimedia Directory (3rd Edition)[M]. LosAngeles: The Carronade Group,1995.
[38] Saxenian, A. Regional Advantage: Culture and Competition in Silicon Valleyand Route128[M]. Cambridge, MA: Harvard University Press,1994.
[39] Scott, A. J. On Hollywood: The Place, the Industry [M]. Princeton: PrincetonUniversity Press,2005.
[40] Scott, A.J. Rgions and the World Economy: The Coming Shape of GlobalProduction, Competition, and Political Order [M]. Oxford: Oxford UniversityPress,1998.
[41] Scott, A.J. The Cultural Economy of Cities: Essays on the Geography ofImage-producing Industries [M]. London: SAGE Publications Ltd,2000.
[42] Singhal, A.,&Rogers, E. Entertainment-Education: A CommunicationStrategy for Social Change [M]. Mahwah, NJ: Lawrence Erlbaum Publishers,1999.
[43] Soja, E. Postmodern Geographies [M]. London: Verso,1989.
[44] Soja, E. Thirdspace [M]. Oxford: Blackwell,1996.
[45] Stallabras, J. Gargantua: Manufactured Mass Culture [M]. London: Verso,1996.
[46] Sternberg, R. J. Handbook of creativity [M]. Cambridge, CambridgeUniversity Press,1999.
[47] Storper, M. Industrialization, Economic Development, and the RegionalQuestion in the Third World [M]. London：Pion,1991.
[48] Thompson, J. The Globalization of Communication. In D. Held and A.McGrew (eds.). The Global Transformations Reader (2nd Edition)[M].Cambridge: Polity Press,2003.
[49] Throsby, D. Economics and Culture [M]. Cambridge: Cambridge UniversityPress,2001.
[50] Trend, D. Cultural Democracy: Politics, Media, New technology, Albany [M].NY: State University of New York Press,1997.
[51] Yin, R. K. Case Study Research: Design and Methods [M] Thousand Oaks, CA,Sage,1994.
[52] Zook, M. The Geography of the Internet Industry: Venture Capital, Dotcoms,and Local Knowledge [M]. Oxford: Blackwell,2005.
[53] Zukin, S. The Culture of Cities [M]. Oxford: Blackwell,1995:271-273.
[1] Burama K. Strengthening Local Creative Industries and Developing CulturalCapacity for Poverty Alleviation [C]. Sixth Annual Conference17-20November2005Dakar, Senegal.
[2] Hongyuan Wang. Proceedings of the2nd International Conference on GreenCommunications and Networks2012(GCN2012) Volume2Lecture Notes inElectrical Engineering Volume224[C]. Berlin Heidelberg: Springer-Verlag,2013:13-19.
[1] Avril, J. Monica, N. The Creative Industries in South Africa [R]. CreativeIndustries Sector Report, prepare for the HSRC,15December2007.
[2] DCMS. Creative Britain: New Talents for the New Economy [R]. London:Department of Culture, Media and Sport,2008.
[3] MacDonald, G. The Emergence of Global Multi-Media Conglomerates,Geneva: International Labour Office [R]. Multinational EnterprisesProgramme, Working Paper, No.70,1990.
[4] RIAA. Annual Report [R]. New York: Recording Industry Association ofAmerica,1997.
[5] UNCTAD. Creative Economy Report2008[R]. Geneva: UNCTAD,2008.
[1] Allen J. Scott. Cultural-Products Industries and Urban Economic Development[J]. Urban Affairs Review,2004,39(4):461-490.
[2] Antonio García-Tabuenca, José Luis Crespo-Espert, Juan R. Cuadrado-Roura.Entrepreneurship, Creative Industries and Regional Dynamics in Spain [J]. TheAnnals of Regional Science,2011,47(3):659-687.
[3] Banks Mark. Craft Labour and Creative Industries [J]. International Journal ofCultural Policy,2010,16(3):305-321.
[4] Basset, K., Griffiths, R., Smith, I. Cultural industries, cultural clusters and thecity: The example of natural history film-making in Bristol [J]. Geoforum,2002,33:165-177.
[5] Bathelt, H., Malmberg, A. and Maskell, P. Clusters and knowledge: localbuzz，global pipelines and the process of knowledge creation [J].Progress inHuman Geography,2004,28(1):31-56.
[6] Bielby W T. Creative Industries (Book Review)[J]. American Journal ofSociology,2001,106(6):1830-1832.
[7] Bielby, D.D. and Bielby, W.T. Women and Men in Film: Gender Inequalityamong Writers in a Culture Industry [J]. Gender&Society,1996,10(3):248-265.
[8] Brown A, Justin O’Connor, Sara Cohen. Local Music Policies within a GlobalMusic Industry：Cultural Quarters in Manchester and Sheffield [J]. Geoforum,2000,31(4):437-451.
[9] Chris Gibson, Lily Kong. Cultural Economy: A Critical Review [J].Progress inHuman Geography,2005,29(5):541-561.
[10] Christian Barrère. Heritage as a basis for creativity in creative industries: thecase of taste industries [J]. Mind&Society,2013.
[11] Cinzia Colapinto, Colin Porlezza. Innovation in Creative Industries: from theQuadruple Helix Model to the Systems Theory [J]. Journal of the KnowledgeEconomy,2012,3(4):343-353.
[12] Clare, J. A., Mitchell, T. E. Bunting, Maria Piccioni. Visual artists:Counter-urbanites in the Canadian countryside?[J]. The Canadian Geographer,2004,48(2):152-167.
[13] Cohen J P, Catherine J. Morrison Paul. Agglomeration Economies and IndustryLocation Decisions: The Impacts of Spatial and Industrial Spillovers [J].Regional Science and Urban Economics,2005,35(3):215-237.
[14] Crewe L., Beaverstock, J. Fashioning the city: cultures of consumption incontemporary urban spaces [J]. Geoforum,1998,29(3):287-301.
[15] Cunningham, S. The Creative Industries after Cultural Policy: a Genealogyand Some Possible Preferred Futures [J]. International Journal of CulturalStudies,2004,7(1):105-115.
[16] Curtin, M. Media Capital: towards de Study of Spatial Flows [J]. InternationalJournal of Cultural Studies,2003,6(2):202-208.
[17] Dermody J. Management and Creativity–From Creative Industries toCreative Management [J]. International Journal of Advertising,2007,26(3):407-408.
[18] Deuze M. Convergence Culture in the Creative Industries [J]. InternationalJournal of Cultural Studies,2007,10(2):243-263.
[19] Diane P. The new Economy and the work-life balance: ConceptualExplorations and a Case Study of New Media [J].Gender, Work andOrganization,2003,10(1):65-93.
[20] Drake, G. This Place Gives me Space: Place and Creativity in the CreativeIndustries [J]. Geoforum,2003(34):511-524.
[21] Ellison G, Glaeser E. Geographic Concentration in US ManufacturingIndustries: A Dartboard Approach [J]. Journal of Political Economy,1997,105(5):889-927.
[22] Emily Pacey. GLA Report on Creative Industries Overlooks Design [J]. DesignWeek,2007,22(40):7-7.
[23] Ettlinger, N. Cultural Economic Geography and A Relational and MicrospaceApproach to Trusts, Rationalities, Networks, and Change in CollaborativeWorkplaces [J]. Journal of Economic Geography,2003,3(2):145-172.
[24] Freeman C. Network of Innovators a Synthesis of Research Issues [J].Research Policy,1991,27:209-228.
[25] Gabszewicz J J, J-F Thisse. Entry (and Exit) in a Differentiated Industry [J].Journal of Economic Theory,1980:22(2):327-338.
[26] Garnham, N. From Cultural to Creative Industries: An Analysis of theImplications of the ‘Creative Industries’ Approach to Arts and Media PolicyMaking in the United Kingdom [J]. International Journal of Cultural Policy,2005,11(1):15-29.
[27] Gertler, M. Best practice? Geography, learning and institutional limits tostrong convergence [J]. The Journal of Economic Geography,2001,1(1):5-26.
[28] Gertler, M. S. Tacit Knowledge and the Economic Geography of Context, orthe Undefinable Essence of Being (There)[J]. Journal of Economic Geography,2003,3(1):75-99.
[29] Gibson C.Cultures at work: Why ‘culture’ matters in research on the ‘cultural’industries [J]. Social&Cultural Geography,2003,4(2):201-215.
[30] Gibson, C, Murphy, P., Freestone, R. Employment and social-spatial relationsin Australia’s cultural economy [J]. Australian Geographer,2002,33(2):173-189.
[31] Gibson, C., Kong, L. Cultural economy: A critical review. Progress in HumanGeography,2005,29(5):541-561.
[32] Glen N, Olivero R. New Geographies of Comic Book Production in NorthAmerica: The New Artisan, Distancing and the Periodic Social Economy [J].Economic Geography,2003,79(3):241-263.
[33] Grabher, G. Ecologies of Creativity: the Village, the Group, and theHeterarchic Organisation of the British Advertising Industry[J]. Environmentand Planning A,2001,33(2):351-374.
[34] Grabher, G. Learning in projects. remembering in networks? Communality,sociality, and connectivity in project ecologies [J].European Urban andRegional Studies.2004,11(2):99-119.
[35] Grabher, G. Locating economic action: projects, networks, localities, institutes[J]. Environment and Planning,2001(33):1329-1334.
[36] Graham Drake.‘This Place Gives me Space’: Place and Creativity in theCreative Industries [J]. Geoforum,2003,34(4):511-524．
[37] Granovetter, M. Economic Action and Social Structure: The Problem ofEmbedded ness [J]. American Journal of Sociology,1985(91):481-510.
[38] Greg, R. Julie W. Developing creativity in tourist experiences: A solution tothe serial reproduction of culture?[J]. Tourism Management,2006,(27):1209-1223.
[39] Hakimi S L. Optimum Location of Switching Centers and the AbsoluteCenters and Medians of a Graph [J]. Operations and Research,1964,12(3):450-459.
[40] Hall, P. Creative Cities and Economic Development [J]. Urban Studies,2000,37(4):639-649.
[41] Hans Mommaas. Cultural Clusters and the Post-industrial City: Towards theRemapping of Urban Cultural Policy [J]．Urban Studies,2004，41(3):507–532．
[42] Henry Etzkowitz, Magnus Klofsten. The innovating region: toward a theory ofknowledge-based regional development [J]. Research and Development,2005,35(3):243-255.
[43] Hesmondhalgh, D. and Pratt, A. Cultural Industries and Cultural Policy [J].International Journal of Cultural Policy,2005,11(1):1-13.
[44] Hesmondhalgh, D. Media and Cultural Policy as Public Policy [J].International Journal of Cultural Policy,2005,11(1):95-109.
[45] Irma Booyens. Creative Industries, Inequality and Social Development:Developments, Impacts and Challenges in Cape Town [J]. Urban Forum,2012,23(1):43-60.
[46] Jackson, P. Commercial cultures: Transcending the cultural and the economic[J]. Progress in Human Geography,2002,26(1):3-18.
[47] Kong, L. The sociality of cultural industries [J]. International Journal ofCultural Policy,2005,11(1):61-76.
[48] Kristensen, T. The physical context of creativity [J].Creativity and InnovationManagement,2004,13(12):89-96.
[49] Lawrence, T. B., Philips, N. Understanding cultural industries [J]. Journal ofManagement Inquiry,2002,11(4):430-441.
[50] Lee, T. Creative Shifts and Directions: Cultural Policy in Singapore[J].International Journal of Cultural Policy,2004,10(3).
[51] Markusen, A, Gregory, H. W., Doug, D., et al. Defining the creative economy:Industry and occupational approaches [J]. Economic Development Quarterly,2008,22(1):24-45.
[52] Martin, R., Sunley, P. Deconstructing clusters: chaotic concept of policypanacea [J]. Journal of Economic Geography,2003,3(1):5-35.
[53] O’Connor, J. A New Modernity? The Arrival of “Creative Industries” in China[J]. International Journal of Cultural Policy,2006,9(3):271-283.
[54] O’Connor, J. Art, Popular Culture and Cultural Policy: Variations on a Themeof John Carey[J]. Critical Quarterly,2006,48(4):49-104.
[55] Oakley, K. Include Us Out: Economic Development and Social Policy in theCreative Industries [J]. Cultural Trends,2006,15(4):255-273.
[56] Oakley, K. Not so Cool Britannia: the Role of the Creative Industries inEconomic Development [J]. International Journal of Cultural Studies,2004,7(1):67-77.
[57] Paul Stoneman. Jason Potts (2011): Creative industries and economicevolution [J]. Journal of Cultural Economics,2012.
[58] Peck, J. Struggling with the creative class [J]. International Journal of Urbanand Regional Research,2005,29(4):740-770.
[59] Porter, M. Clusters and the New Economics of Competition [J]. HarvardBusiness Review,1998(76):77-91.
[60] Porter, M.E. Location, Competition and Economic Development: LocalClusters in a Global Economy [J]. Economic Development Quarterly,2000,14(1):15-34.
[61] Potts Jason D., Cunningham Stuart D. Four models of the creative industries[J]. International Journal of Cultural Policy,2008,14(3):233-247.
[62] Potts, J., Cunningham, S., Hartley, J. and Ormerod, P. Social network markets:a new definition of the creative industries [J].Journal of Cultural Economy,2008(32):167-185.
[63] Power, D.“Cultural Industries” in Sweden: An Assessment of their Place in theSwedish Economy [J]. Economic Geography,2002(2):103-127.
[64] Pratt, A. C. The cultural industries production system: A case study ofemployment change in Britain,1984-91[J]. Environment and Planning,1997(29):1953-1974.
[65] Pratt, A. New Media, the New Economy and New Spaces [J]. Geoforum,2000(31):425-436.
[66] Richards, G. Creativity: A New Strategic Resource for Tourism [J].International Journal of Cultural Policy,2005(9):32-43.
[67] Roberta Piergiovanni, Martin A. Carree, Enrico Santarelli. Creative industries,new business formation, and regional economic growth [J]. Small BusinessEconomics,2012,39(3):539-560.
[68] Rosen, S. The Economics of Superstars [J].American Economic Review,1981,71(5):845-858.
[69] Scott, A. J, Capitalism, cities, and the production of symbolic forms [J].Transactions of the Institute of British Geographers,2001,26(1):11-23.
[70] Scott, A.J. Cultural Products Industries and Urban Economic Development:Prospects for Growth and Market Contestation in Global Context [J]. UrbanAffairs Review,2004,39(4):461-490.
[71] Scott, A.J. Entrepreneurship, Innovation and Industrial Development:Geography and the Creative Field Revisited[J]. Small Business Economics,2006,26(1):1-24.
[72] Scott, A.J. The Cultural Economy of Cities [J]. International Journal of Urbanand Regional Research,1997(21):323-339.
[73] Stefan Seidel. Toward a theory of managing creativity-intensive processes: acreative industries study [J]. Information Systems and e-Business Management,2011,9(4):407-446.
[74] Straubhaar, J. Beyond Media Imperialism: Asymmetrical Interdependence andCultural Proximity [J]. Critical Studies in Mass Communication,1991,8:39-59.
[75] Stuart Cunningham. Paul Stoneman: Soft innovation: economics, productaesthetics and creative industries [J]. Journal of Cultural Economics,2011,35(3):241-245.
[76] Throsby, D. Cultural Capital [J]. Journal of Cultural Economics,1999,23:3-12.
[77] Throsby, D. The Production and Consumption of the Arts: a View of CulturalEconomics [J]. Journal of Economic Literature,1994,32:1-29.
[78] Towse, R.Creativity, Copyright and the Creative Industries Paradigm [J].KYKLOS,2010,63(3):461-478.
[79] Uricchio, W. Beyond the Great Divide: Collaborative Networks and theChallenge to Dominant [J]. Conceptions of Creative Industries,2004,7(1):79-90.
[80] Wise, P. Cultural Policy and Multiplicities [J]. International Journal of CulturalPolicy,2002,8(2):221-231.
[81] Wood, P. Taylor, C. Big Ideas for a Small Town: The Huddersfield CreativeTown Initiative [J]. Comedia Local Economy,2004,19(4):380-395.
[82] Yue, A. The Regional Culture of New Asia: Cultural Governance and CreativeIndustry in Singapore [J].International Journal of Cultural Policy,2006,12(1).
[1] Wu, W. Dynamic Cities and Creative Clusters [Z].World Bank Policy ResearchWorking Paper3509, Washington DC,2005.
[1] DCMS[EB/OL].http://www.culture.gov.uk/about_us/creative_industries/default.aspx.
[2] QUT. Creative Industries [EB/OL]. http://www.creativeindustries.qut.edu.au.